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ETHNIC MUSIC

Music and Speech

Speech

The Superiority of Music
over the Language of Today

Fundamental Research

The Organ of Speech

The Smithy of Thought

Sovereignty over Bound and Free Creativity

The Dimension of
Creative Unfoldment

Control over the World
of Thinking

Content and Form,
Meaning and Structure

The Share of the
Senses of Perception
in the Process of
Gaining Knowledge

The Language of Music

How Our Ancestors
Used Language

Conclusions from the
Ancient Records

The Legacy of
Our Ancestors

The Task Set by
Our Ancestors

 

Peter Hübner
Founder of the
Micro Music Laboratories

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  Music and Speech
         
 
The Smithy of Thoughts


 
 
 
Our in­ner or­gan of speech is not only the natu­ral or­gan for the ar­ticu­la­tion of speech but also our natu­ral or­gan, our per­fect tool, for the ar­ticu­la­tion of any thought. It is in­deed our smithy of thoughts, and has all the at­trib­utes of a real smithy to shape our thoughts in their di­ver­sity and to pre­sent them to our senses which in­ces­santly sur­vey our mind.

 
The Perfect Workshop for the Articulation of the Thought
 
 
On a subtle level of our in­ner ac­tiv­ity – the same level which we de­fined as the level on which mu­sic is cre­ated – our in­ner breath is pumped into the ma­te­rial of our mind with the help of the warmth of our feel­ing; this heats the sur­face of our mind and raises its flexi­bil­ity – as it hap­pens with metal in the forge of a smithy.

 
The Secret Craft on the Level of Creating Music
 
 
Once the mind, through the skilled hand of our in­tel­lect – in co­or­di­na­tion with the for­ma­tive force of our feel­ing and the for­ma­tive force of our un­der­stand­ing – has reached the de­sired shape, it is cooled by the un­der­stand­ing as­pect of our in­tel­lect and hard­ens: the thought gains its fixed form.

 
The Process of Mental Shaping
 
 
Now the thought is fin­ished and con­tains all the at­trib­utes nec­es­sary for our sen­sory per­cep­tion.
Our sense of sight sur­veys the thought and ex­tracts its outer shape – the vis­ual as­pect;
our sense of taste tastes the thought and feeds on it, and our sense of smell sniffs at the thought from all sides.

 
The Mechanics of Sensory Perception
 
 
But our un­der­stand­ing, too, ex­am­ines the thought with re­spect to its ana­lyti­cally com­pre­hen­si­ble val­ues, and our feel­ing traces the com­mon basis of the at­trib­utes of the thought.

 
Analysis and Synthesis of the Thought
 
 
If this seems un­likely, one must re­call what hap­pens dur­ing dream­ing: dur­ing the dream one thinks; the thoughts are formed from within the mind by the in­ner or­gan of speech.
Si­mul­ta­ne­ously, the dreamer – the dreamer’s self-ex­peri­ences, and it is again the self of the dreamer, who hears in the dream, and this hear­ing comes about through his sense of hear­ing be­cause in a dream the sense of hear­ing sur­veys the dreamed thought. So, the dreamer does not hear out­side, but inside.
And in the same dream the sense of sight sur­veys the same dreamed thought just as the sense of hear­ing does, and it com­mu­ni­cates what it sees to the self of the dreamer.
And no one will doubt that this “seeing” takes place only inside since dur­ing dream­ing the eyes are closed.

 
The Mechanics of Gaining Knowledge
 
 
In the same way also the other friends of per­cep­tion are ac­tive: the sense of touch, the sense of smell, and the sense of taste. To­gether, they all amuse them­selves on the fair­ground of our dream­ing state of con­scious­ness.

 
The Daily Experence of the Creative Proces
 
 
And the great or­gan­izer, the self of the dreamer, sends its cus­to­di­ans of or­der: the as­pects of the in­tel­lect – through which it dis­tin­guishes be­tween the sen­sory per­cep­tions: be­tween past and fu­ture, be­tween now and just be­fore, be­tween high and low, be­tween blue and green, be­tween sweet and salty, be­tween stinging smoke and the mild fragrance of lilac, be­tween soft cush­ions and hard rock, be­tween the sound of drums and the chirping of the cricket on a blade of grass beside the large bridge across which a train is rumbling.

   
     
     
                                 
     
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
                                     
                                     
  With kind permission of AAR EDITION INTERNATIONAL
© 1998 –  MICRO MUSIC LABORATORIES



 
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