way, neither does the whole of
nature.
Not even within an atom there seems to be structurally any kind of rhythmical
dominance, but the influences of the individual oscillations seem to be continuously
changing.
And if, for instance, every single of our human organs has its very own, but
changeable rhythm of which today's medical science has already recognised
hundreds of different, changing basic rhythms one still cannot talk
of the rhythmical dominance of one of our organs compared to an other one,
but in fast alternating change, sometimes this one, then the other one has
the rhythmical dynamic upperhand.
Our great classical
sound creators then also pursued new intuitive methods, and their previous
systematic inner realisation and application of the
natural laws of harmony of the microcosm of music we nowadays call our History
of Music. And musicology pursues the empirical scientific method with
the help of large special laboratories.
Our
European history of music marks the way of intuitive research of the microcosm
of music through our great classical sound creators.
This tradition was interrupted with the creation of twelve-tone music, and
is today continued by the classical sound creator
Peter Hübner.
The famous musicologist and astronomer Johannes Kepler also reaffirmed that the paths of the stars follow the same laws of harmony as the inner sound paths or developments in the microcosm of music. Indeed, Kepler even originally calculated the planetary orbits on the basis of his music theoretical findings.
Applying the Laws of
the
Microcosm of Music
to the Course of the Stars
Particularly in today's music, we must learn again to realise the democratic
interplay of many rhythms. The natural microcosm of music does not know a
rhythmical fixation or dictatorship of a certain nature as, by the