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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 Dimension of Creative Unfoldment


 
 
 
So, he who’s crea­tiv­ity is un­folded has power over what is yet un­heard, then over what is heard, and he has power over the unseen be­cause he makes it visi­ble, and power over all that could be touched and could be felt: and the art of cook­ing is open to him, as is the ful­fil­ment of the gourmet; and he is free to choose whether to smell at a tank truck or to inhale the fragrance of roses.
Not so the dreamer whose self is overrun by the events in his world of thoughts.

 
Power over the Unheard and the Heard
 
 
This dis­tin­guishes the minds of those who are truly crea­tive from those of somnambulant dreamers in the arts.

 
The Distinction
 
 
As surely as a nor­mal think­ing per­son pre­fers the fragrance of the jasmine flower to the smell of terpentine, the crea­tive, cul­ti­vated man will pre­fer the beau­ti­ful to the ugly. And from this we can con­clude:

 
The Basic Attitude of an Individual of Unfolded Creativity
 
 
When­ever some­one cre­ates some­thing truly beau­ti­ful it is rather cer­tain that, in the wak­ing state, he con­sciously rules his in­ner di­men­sion of crea­tiv­ity and is there­fore also a pow­er­ful or­gan­izer of his own great life – an ex­ample for oth­ers.

 
Beauty as a Measure of Creative Unfoldment
 
 
When­ever some­one cre­ates some­thing ugly, then, whathever the pre­text may be, he cre­ates from the lack of con­trol of a dreamer; be­cause, as in the case of a dreamer, his self – unprac­tised in crea­tiv­ity – can­not de­ter­mine what it dreams and often enough has to put up with the ugly when it spreads in his mind.

   
 
The in­ner world of the dreamer is not freely or­gan­ized by his self – which ex­plains the chaos of the dream­ing state of con­scious­ness.
And if one pro­jects one’s “day-dream­ing” con­fu­sion into the sur­round­ings, af­ter some time of ac­tiv­ity, the outer dis­or­der of one’s en­vi­ron­ment will match the in­ner chaos of one’s dreams.

 
The Reactionary “Doer” in the Art of Sound
 
 
Such an ef­fect is in­deed re­ac­tionary – mechanistic; only fumbled out from memo­ries – with­out the mighty crea­tive or­ga­niz­ing hand of the in­tel­lect ruled by the self-aware­ness.

 
Structuring the Environment from Memories
 
     
     
                                 
     
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
                                     
                                     
  With kind permission of AAR EDITION INTERNATIONAL
© 1998 –  MICRO MUSIC LABORATORIES



 
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