THE CLASSICAL COMPOSER AND MUSICOLOGIST PETER HÜBNER
on his International Project of the INTEGRATION OF SCIENCES & ARTS
 
NATURAL
MUSIC HEARING


OUVERTURE
CONVEYING TRUTH IN MUSIC


TEIL I
THE OBJECT OF GAINING KNOWLEDGE IN MUSIC


TEIL II
THE LOGIC OF THE MUSICAL FIELDS OF COGNITION


TEIL III
IMMORTAL AND MORTAL TRADITION OF MUSIC


TEIL IV
THE LIVING EXAMPLE OF THE MUSICAL COGNITION OF TRUTH


TEIL V
THE THREE GREAT STEPS OF THE MUSICAL PROCESS OF GAINING KNOWLEDGE


TEIL VI
THE SYSTEM OF INTELLECTUAL DISCUSSION IN MUSIC


TEIL VII
ERRORS IN GAINING KNOWLEDGE IN MUSIC


TEIL VIII
EQUIVOCATION


TEIL IX
THE SECRET OF MUSIC


TEIL X
THE ULTIMATE GOAL OF GAINING KNOWLEDGE IN MUSIC


TEIL XI
INDIRECT AND DIRECT GAINING KNOWLEDGE IN MUSIC


TEIL XII
THE PATH OF KNOWLEDGE AND THE GOAL OF TRUTH


Integration of Outer and Inner
Musical Knowledge


 
What our in­tel­lect origi­nally drew only from the mu­si­cal sound-space i.e. from the outer mu­si­cal pres­en­ta­tion it now per­ceives deep within, in our in­ner­most self: on the one hand, we hear the mu­si­cal work from out­side and glean the mu­si­cal mean­ing from it, and on the other hand, we si­mul­ta­ne­ously dis­cover the ex­is­tence of such a truth within our­selves.

 
Identification with the Musical Statement
We might say: we iden­tify our­selves with the mu­si­cal state­ment; for, as lis­ten­ers, we now iden­tify the outer re­sound­ing mu­si­cal work with our own, cor­re­spond­ing, in­ner mu­si­cal work which is un­fold­ing on the level of our self-aware­ness.

 
At this moment, when we lis­ten­ers per­form this iden­ti­fi­ca­tion of outer and in­ner mu­si­cal knowl­edge in the su­preme func­tion of our feel­ing and un­der­stand­ing in the field of our pure self-aware­ness then a dis­tinc­tion be­tween mu­sic-lis­ten­ing and mu­sic-cre­at­ing no longer exists for us.
In this man­ner we attain a uni­fied mu­si­cal mean­ing with a sin­gle one mu­si­cal form which clads the mean­ing into a gar­ment of tones.

 
Full Knowledge of the Musical Meaning
This one to­tal mu­si­cal state­ment, which grew from the doubt­less­ness of what we heard within and with­out, is what we call the “au­then­tic mu­si­cal state­ment.”
In the deep­est sense of the word it is a lis­tener’s com­pounded tes­ti­mony of the mu­si­cal truth; for the lis­tener is now si­mul­ta­ne­ously a crea­tor of mu­sic.

 
Natural Integration of Tradition and Progress in Music
Now the mu­si­cal state­ment cor­re­sponds to the origi­nal con­cept of the com­poser whose work con­tin­ues to re­sound in the con­cert hall.

 
This is the in­te­gra­tion be­tween the mu­sic lis­tener and the mu­sic crea­tor, be­tween the mu­sic stu­dent and the mu­sic teacher.