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

NATURAL
MUSIC CREATION


OUVERTURE
THE IMMORTAL ENCHANTED REALM OF THE QUEEN OF MUSIC


TEIL I
THE PROCESS OF CREATING MUSIC


TEIL II
THE CLASSICAL TEACHING SCOPE OF MUSIC


TEIL III
THE INNER MECHANICS OF CREATING MUSIC


TEIL IV
DIDACTICS OF MUSIC


TEIL V
THE FORCE-FIELDS IN MUSIC


TEIL VI
THE PURPOSE OF MUSIC TRADITION


TEIL VII
SPACE AND TIME IN MUSIC


TEIL VIII
THE PHYSICS OF MUSIC


TEIL IX
THE SYSTEMS OF ORDER IN MUSIC


TEIL X
SCIENTIFIC FUNDAMENTALS OF MUSIC AESTHETICS


TEIL XI
THE SCIENCE OF MUSIC


TEIL XII
MUSIC AND SPEECH


Authentic Conveyance of Truth


 
All great mu­si­cal poets ex­pect the in­ter­preter to com­pre­hend their mu­si­cal-ar­tis­tic in­ten­tion, and to have the de­sire to serve hu­man­ity.
Fur­ther­more, the in­ter­preter must know the mean­ing of the com­poser’s in­di­vid­ual mes­sage to his lis­tener. Only on this basis is it pos­si­ble for the in­ter­preter to trans­form the mu­si­cal mean­ing into a state­ment which is nei­ther fixed nor an end to it­self, but is only his outer, prac­ti­cal means to convey to the lis­tener the com­poser’s spe­cific and mu­si­cally coded mes­sage in a fresh and au­then­tic man­ner.

 
“Interpretation”
In re­al­ity, to the clas­si­cal com­poser, mu­sic is just the poetic me­dium for the de­scrip­tion of the in­ner do­main of hu­man free­dom, to in­spire the lim­ited for the unlim­ited.

 
Inspiration for the Unlimited
An analy­sis of power shows that mu­sic is di­vided into two large sphe­res: an ac­tive and a pas­sive sphere, a crea­tive and a cre­ated sphere, the sub­jec­tive and the ob­jec­tive field of mu­sic. Where the sounds origi­nate, where the world of the mu­si­cal sound-space be­gins, there ends the sub­jec­tive sphere of mu­sic, and there be­gins its ob­jec­tive field, ex­tend­ing all the way to the acous­tic event.

 
The Subjective and Objective Sphere of Music
This ob­jec­tive field of mu­sic also in­cludes the di­men­sion of our in­ner hear­ing; be­cause the proc­ess of in­ner hear­ing in­cludes the think­ing of sounds on the level of the mind (i.e., the mu­si­cal thought), as well as the or­gan for sur­vey­ing the thought (the sense of hear­ing), but also the mecha­nism of sur­vey­ing it­self (the me­chan­ics of the sense of hear­ing).

 
The Objective Sphere
How­ever, this outer world of think­ing is lim­ited in space and time whereas that, which lies at its basis and gen­er­ates it, is lo­cated be­yond space and time and con­sti­tutes the sub­jec­tive, the crea­tive sphere of mu­sic.
If this in­ner, sub­jec­tive sphere is not the con­scious, natu­ral basis of the com­poser’s mu­si­cal think­ing, the mu­si­cian him­self as well as his lis­tener will be barred from the enli­ven­ing, re­ju­ve­nat­ing ef­fect of mu­sic, from the im­mor­tal nectar of the di­vine crea­tive spark, and through their sense of hear­ing they will ex­peri­ence only the outer prod­uct: the world of the ob­jec­tive, the world of the pow­er­less, the mortal as­pect of mu­sic – its body.

 
The Subjective Sphere
This clear in­sight into the sub­jec­tive and ob­jec­tive sphere of mu­sic re­moves mu­sic and the crea­tion of mu­sic, at their very roots even, from the field of tones into the world of the alive alone – thus prescribing com­pletely new ho­ri­zons for pro­fes­sional mu­sic edu­ca­tion. It calls for a sys­tem­atic train­ing of com­pre­hen­sive hu­man ca­pa­bili­ties which reach into the depth of man’s per­son­al­ity.

 
The True World of Music