What is Dynamic Space Stereophony®?
Dynamic Space Stereophony® is a further development of conventional stereophony, in which musical logic is brought to the forefront of musical experience with a completely new music recording technology, music processing technology and music reproduction technology.
While with the help of conventional stereophony the location of the musicians or singers is represented on the stereo line, Dynamic Space Stereophony® is about structuring the acoustic space with the help of the musical logic of a musical work, in scientific methodology – in other words, presenting the supporting elements of a musical work in such a dynamic manner in the acoustic space that the listener can grasp the structural developments of the composition of the musical work directly in the acoustic space.
Especially in the field of classical music, this has tremendous advantages in terms of musical cognition: because now hearing actively supports the ability of intellectual differentiation.
What interests music lovers in music, and especially the educated listener of classical music, is not listening to the tones or sounds, but what makes the tones into a melody – that is, what connects them – and in extreme cases what turns the tones into the cosmology of polyphony.
The high art of the fugue – the highest art in music in general – is closed to many listeners above all because conventional stereophony does not manage to present the integrated musical logic – which the art of the fugue creates – as such in the acoustic space and make it recognizable.
What the experts of conventional stereophony represent on an imaginary line in the acoustic space – the seating arrangement of the orchestra – was regarded as musically unimportant by the great composers, therefore they never recorded such a thing in their scores or made any statements about it.
About 40 years ago, the classical composer and musicologist Peter Hübner set himself the task of solving this problem – to present the musical logic in the acoustic space in dynamical unfoldment and thus show the listener what music actually is, beyond all sounds. And with the help of engineers, technicians and computer specialists, he has devoted the last four decades to the task of performing the music – in contrast to the sounds and tones as well as the seating arrangement of the orchestra – directly in the acoustic space and to express this spatially temporally dynamic experience through the integration of many acoustic spaces penetrating each other in many different ways and to make it easily recognizable for the listener – something which conventional stereophony in particular has not even paid attention to so far.
This is the only purpose for which Dynamic Space Stereophony® was created.
Already Pythagoras, as reported by Jamblichos, has tried to realize something like this in his school - far away from the highly developed technologies of our digital age.
Here is his report:
“Pythagoras, by virtue of an inexpressible and elusive divine ability, directed his hearing and spirit firmly towards the sublime sounding harmonies of the cosmos.
In doing so, he heard and understood, as he explained, all by himself the complete harmony and the singing of the spheres and of the stars moving within them.
This harmony gave a more perfect and fulfilled music than the earthly, because of unequal and manyfoldly differing tempos, volumes and vibration durations of sounds – which are nevertheless attuned to each other in a clear, extremely musical proportion –, movement and circulation get extremely well sounding arranged and at the same time in their colorfulness inexpressibly beautiful.”
Dynamic Space Stereophony® promotes a true scientific, objectifiable dynamic spatial-temporal musical experience – it even seems that through an integrated dynamic of space and time, it creates for the first time an inner access to music and to an authentic space-experience.
“Right at the beginning I would like to say that inspiration is a very evasive object that is not so easy to describe and about which we know very little. Few people know how to draw on this source, which is probably the reason why so little is known about it.
I am convinced that all-encompassing currents of divine thoughts exist, which vibrate everywhere in the ether, and that everyone who can perceive these vibrations is inspired, provided he is conscious of the process and possesses the knowledge and the skill to present them in a convincing manner, be he composer, architect, painter, sculptor or inventor.
During my work I have had many wonderful and exhilarating experiences in that invisible realm, which I can describe to some extent at least.
I believe first of all, that it is this universal vibrating energy that binds the soul of man to the Almighty Central Power from which emanates the life principle to which we all owe our existence. This energy links us to the Supreme Force of the universe, of which we are all a part. If it were not so, we could not bring ourselves into communication with it. The one who can do this is inspired.
I have very specific impressions in this trance-like state, which is the prerequisite for any truly creative effort. I feel that I am one with this vibrating force, that it is omniscient and that I can draw on it to an extent that is limited only by my own ability.
Why could Beethoven appropriate it to a higher degree than Dittersdorf, to name but one of the many smaller composers of that time? Because Beethoven was much more aware of his harmony with the divine than Dittersdorf. Beethoven said so himself. We have documentary proof of that.”
“I must despise a world
which has no idea
that music is a greater revelation
than all wisdom and philosophy.”
This is the archetypal, creative dimension of the classical composer.
And the objective scientific research results verify here outstanding and partly unbelievable positive medical effects – they even made the integrated dynamics of space and time under scientific application of the harmony laws of the microcosm of music a new branch of scientific medicine as well as of pharmacology.