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


The Measure of Musical Perfection


 
The lis­tener’s di­rect in­sight into that ele­ment which pro­duces mu­sic is the true means for gain­ing valid mu­si­cal in­sight.

 
The Listener Perceives the Absolute Musical Force-Fields of the Harmony
It is true that mu­sic is re­pro­duced out­side by in­stru­ments, but it is pro­duced much more origi­nally from within in the real, crea­tive proc­ess of mu­sic which springs from self-knowl­edge: from our di­rect in­sight into the ab­so­lu­te mu­si­cal force-field of the har­mony.

 
The outer per­form­ance of mu­sic links us to that tra­di­tion of mu­sic which we com­monly call our mu­sic his­tory.
Now, our in­ner­most mu­si­cal per­cep­tion on the ab­so­lu­te mu­sic-level of the har­mony links us with the unhis­tori­cal mu­si­cal tra­di­tion of cre­at­ing mu­sic, where we real­ize that we are cre­at­ing.

 
Music History and Creating Music
For a com­poser it is eas­ily pos­si­ble to cre­ate per­fect mu­sic with­out any outer mu­si­cal im­pres­sion from his di­rect in­sight into the per­fect force-field of the har­mony, and in com­mon, outer terms he may even be de­scribed as mu­si­cally com­pletely un­trained.
And still, his work if it has come into ex­is­tence on the basis of pure self-knowl­edge has lively grown from the ab­so­lu­te mu­si­cal force-field of the har­mony, and there­fore has the natu­ral meas­ure of per­fec­tion.

 
The Untrained Musical Genius
It may well happen that a mu­si­cal work, al­though hav­ing emerged in that man­ner from self-knowl­edge alone, re­mains strange in its outer mu­si­cal lan­guage to a lis­tener who li­ves in his lim­ited, his­tori­cal, earthly time, and there­fore does not reach him. It was cre­ated past the lis­tener of that pe­riod who is bound by the dialect of his time.

 
The Measure of the Art of Music
This is why the in­ner im­pres­sion of a tonal lan­guage rooted in tra­di­tion is a very im­por­tant fac­tor in the proc­ess of cre­at­ing mu­sic if the new crea­tion is to be within the reach of the lis­tener as a source for his ac­qui­si­tion of truth.

 
The Tonal Language Anchored in Tradition
Up to now, con­ven­tional mu­si­cal les­sons are ex­clu­sively ori­ented to the out­er­most rep­re­sen­ta­tion of con­so­nants of the his­tori­cal mu­si­cal lan­guage.
With these hi­ero­glyphs one be­lieves one is able to teach mu­sic, but one has com­pletely lost sight of the pro­gres­sion of ac­tual, origi­nal emer­gence of mu­sic; only some­one who is, due to the for­tu­nate sup­port of na­ture, privi­leged by birth with the proc­ess of true crea­tion of mu­sic from pure self-con­scious­ness can act as a great man, and will at some point be ac­knowl­edged as such.

 
Creative Impulses in the Conventional Music Tradition
The in­te­gra­tion of outer and in­ner mu­si­cal knowl­edge guar­an­tees the mu­si­cal crea­tor suc­cess in his his­tori­cal time: among the lis­ten­ers of his era, and it will save him from mak­ing up to the lis­tener in flat mu­si­cal state­ments as we know them from en­ter­tain­ment mu­sic, in pop and beat mu­sic, as well as in large parts of folk mu­sic.

 
Success of the Music Creator in His Time
At his time, the au­then­tic mu­si­cal state­ment of an in­te­grated knower of mu­sic of a com­poser who is re­lated to the true mu­si­cal tra­di­tion will natu­rally be suc­cess­ful among the ma­jor­ity of the lis­ten­ers, he will sat­isfy the high­est de­mands for qual­ity, and he will outlive the times; for on the one hand, this di­rect mu­si­cal tes­ti­mony has evolved with ref­er­ence to the true tes­ti­mo­nies of the reve­la­tions of the ages but on the other hand, it has si­mul­ta­ne­ously emerged from the full­ness of origi­nal crea­tiv­ity be­yond time.

 
Music which Outlives the Times