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


“Per­fec­tion must be the goal
of eve­ry true art­ist.”

Beethoven


 

The Study of Musical Creativity


 
So the true study of mu­sic is based on the gen­eral study of mu­si­cal crea­tiv­ity, on the gen­eral study of in­ner, hu­man mu­si­cal un­fold­ment, on the sys­tem­atic study of the in­di­vid­ual crea­tive per­son­al­ity.

 
Well-founded Musical Education as the Criterion for Development
Only on that basis it makes sense to con­sider an outer pres­en­ta­tion of that which is cre­ated within by the in­tel­lect and heard with the in­ner ear.

 
Fundamentals of the Interpretation
Mu­si­cal edu­ca­tion thus pre­sents it­self as a sys­tem­atic, well-di­rected train­ing pro­gram for an in­ner-hu­man cul­ti­va­tion of char­ac­ter.

 
Training Program at the Foundation of the Musical Art
This defi­ni­tion of the pur­pose of mu­sic guar­an­tees us the ap­proval of the great wise men of all high cul­tures; for they con­sid­ered this cen­tral task to be the prin­ci­pal field of mu­si­cal ac­tiv­ity.
Thus, mu­sic to­day regains its origi­nal paramount im­por­tance in de­ter­min­ing hu­man evo­lu­tion.

 
The Significance of Music in the Human Evolution
In prin­ci­ple, mu­sic knows two kinds of sys­tems of or­der which – each fur­ther sub­di­vided – are the two magic arms that pre­sent the mu­sic to the lis­tener.

 
These two great sys­tems of or­der may be con­sid­ered as the hori­zon­tal one – rec­og­niz­able from out­side and com­pre­hen­si­ble by the un­der­stand­ing – and the ver­ti­cal one – rec­og­niz­able from inside and com­pre­hen­si­ble by the feel­ing.

 
The Horizontal and the Vertical System of Order in Music
The lis­tener, in turn, re­ceives the mu­sic pre­sented to him with two arms: the quali­ties of his feel­ing and his un­der­stand­ing.

 
Giving and Receiving Music
Both sys­tems to­gether form the two­fold hu­man path of un­der­stand­ing the one mu­si­cal struc­ture. En­dowed with feel­ing and un­der­stand­ing, man ex­tracts that dual knowl­edge from mu­sic and in­ter­prets it as the hori­zon­tal sys­tem of or­der – the one which he com­pre­hends with his un­der­stand­ing – and as the ver­ti­cal sys­tem of or­der – the one which he com­pre­hends with his feel­ing.
Due to the heterogeneity of these two meth­ods of know­ing, i.e. feel­ing and un­der­stand­ing, mu­sic is be­ing per­ceived in space and time within our con­scious­ness.

 
The Mechanics of Perfect Hearing
Now he real­izes that he him­self is the true es­sence of the com­po­si­tion, the ori­gin of the com­po­si­tion, the ori­gin of each sin­gle com­po­si­tion, the ori­gin of all com­po­si­tions to­gether, the ori­gin of all mu­sic, and the ori­gin of all that which mu­sic is, was, and ever will be.
Reach­ing this high mu­si­cal goal, re-emerg­ing from this mu­si­cal unity into a mani­fold world of mu­sic, and re-en­ter­ing again the un­bounded ori­gin of mu­sic is the su­preme mu­si­cal ex­peri­ence and the level proper for any genu­ine mu­si­cal ex­peri­ence.

 
The Supreme Musical Experience