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 Freedom of the Musical Meaning


 
To convey a com­poser’s mes­sage to the cog­niz­ing lis­tener, to com­mu­ni­cate truth through mu­sic, in­sight is not nec­es­sar­ily re­quired on the side of the per­for­mer.
And it proves the far­sightedness of our great clas­si­cal com­pos­ers that they suc­ceeded not only in form­ing a lan­guage which is, for the most part, in­de­pend­ent of the in­di­vid­ual in­sight of an in­ter­preter, but also in mak­ing it the ac­cepted stan­dard.

 
The Direct Communication of Truth from the Composer to the Listener
An anal­ogy may fur­ther ex­plain this state­ment: a Turk, who grew up in Amer­ica, reads Goethe’s “Faust” to a Ger­man in China.
In­deed, the Turk has learned read­ing by com­mon meth­ods. How­ever, the ex­cerpts he reads out from “Faust” will not al­ways be read­ily un­der­stand­able, and the Ger­man lis­tener, not quite enthused about the pronunciation, will not re­gard it as a piece of art.
But even de­spite the shortcom­ings of the pronunciation, the words reach the lis­tener, and Goethe’s mes­sage comes through.

 
Interpretation and Musical Truth
In the same man­ner, our time clads the mes­sages of the great com­pos­ers of the past into the lan­guage of to­day’s in­ter­pre­ta­tion which breathes the clat­ter of ma­chines.
And from the very fact that the per­for­mer is so suc­cess­ful among the masses to­day one may con­clude that he ap­plies the ma­chine-lan­guage of our time par­ticu­larly ob­tru­sively.

 
The Secret Radiance of the Musical Truth
Skil­fully and in­con­spicu­ously he blends the noises of day-to-day rou­tine into the lan­guage of the or­ches­tra. But even then, truth man­ages to shine through this machinistic lan­guage so popu­lar to­day even if only like a very lit­tle candle in a very big dark room.

 
The de­scrip­tion of each level of na­ture re­quires its own de­gree of per­fec­tion, that per­fec­tion which is typi­cal for the level of na­ture be­ing de­scribed.
Un­for­tu­nately, the or­ches­tral lan­guage of to­day is there­fore only quali­fied to de­scribe, to some ex­tent au­then­ti­cally, the world of phys­ics or chem­is­try i.e. the world of un­enli­vened ecol­ogy and, at most, the struc­ture of that which medi­cine deals with to­day in the field of physi­ol­ogy.

 
Structural Fundamentals of the Musical Description
In the or­ches­tral rou­tine of to­day, the higher mu­si­cal or­ders that are rep­re­sented in the mu­si­cal scores of the great com­pos­ers can be ap­plied just as lit­tle as a big hoist with its huge booms is suited to show some­one a fine golden ring, deco­rated with subtly cut dia­monds, with­out de­stroy­ing the ring and more­over, with­out dragging the whole scene into the gro­tesque.

 
Higher Languages in Music
So, the mu­si­cian must struc­tur­ally and func­tion­ally adapt his outer means of de­scrib­ing the truth, his ar­ticu­la­tion to the struc­tural or­gani­za­tion of the com­po­si­tion in or­der to ade­quately render the mes­sage.