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 Totality
of All Happiness of Life in Mind


 
In its com­pre­hen­siveness, this proc­ess of de­vel­op­ment may not have been the origi­nal in­ten­tion of the lis­tener; he may have lis­tened to the mu­sic be­cause he was quite sim­ply and natu­rally striv­ing for greater joy.
The clas­si­cal com­poser, how­ever, has in mind the to­tal­ity of all the joy of life for his lis­tener, and with his mu­si­cal work he paves pass­able ways for the lis­tener – by him­self pacing them out in ad­vance.

 
Just Striving for Greater Joy
It would cer­tainly be worth­while if the in­ter­preter shared this con­scious in­ten­tion of the mu­si­cal crea­tor – which would quite natu­rally re­sult in the same modest serv­ing at­ti­tude and the cor­re­spond­ing loving, unheroic ap­pear­ance of the in­ter­preter which the com­poser pos­sesses at his crea­tive height.

 
The Freedom of the Interpreter
For­tu­nately, how­ever, such a high, noble at­ti­tude of the in­ter­preter is not nec­es­sar­ily the pre­req­ui­site for the suc­cess of the mu­si­cal work, for the mu­si­cal state­ment to reach the lis­tener, and for the in­ten­tion, which the com­poser had, to be ful­filled.

 
Safe Musical Paths of Cognition for the Listener
It may even happen, and it is al­most the rule to­day, that on the one hand a per­for­mer shines in the glory of his outer pseudo-suc­cess – with­out a true ex­peri­ence of mu­sic of his own – whereas on the other hand a lis­tener si­mul­ta­ne­ously at­tains to the al­mighty crea­tive force in all si­lence and thus makes the true mu­si­cal ex­peri­ence.

 
Now, as we all know, mu­sic is not mu­sic, and unfor­tu­nately it is hardly ever be­ing pro­duced to bring those who love truth closer to their goal.
And by its struc­ture, the larg­est por­tion of mu­sic, that is en­ter­tain­ment mu­sic, de­scribes in its mu­si­cal state­ment not more than does a book on phys­ics or chem­is­try. Some­times en­ter­tain­ment mu­sic also touches – in the form of acous­tical eruptions of emo­tions – the field of bi­ol­ogy classes, or it turns into a su­per­fi­cial psy­cho­logi­cal de­scrip­tion of mostly shal­low and agitated emo­tions – with­out ever striv­ing for knowl­edge, nei­ther of a lower nor of a higher or­der.

 
Music is not Music
But then the larg­est part of mu­sic does not share this goal any­way and justly, it is there­fore in­com­para­bly more sub­jected to decay than clas­si­cal mu­sic.

 
The Music-Creating Philosophers
In terms of the great com­pos­ers, clas­si­cal mu­sic claims to impart knowl­edge, and it gives ample evi­dence that the great com­pos­ers of all times have out­stand­ing knowl­edge and in­sights, and also that they are able to com­mu­ni­cate them through their mu­sic.

 
How­ever, the mu­sic busi­ness of to­day, and unfor­tu­nately the mu­sic-edu­ca­tional In­sti­tu­tions, too, do not cater for such a claim; for in the edu­ca­tional sys­tem, a sys­tem­atic knowl­edge of find­ing truth in mu­sic is not avail­able to the mu­sic teach­ers and, there­fore, not to the mu­si­cians or the mu­sic stu­dents ei­ther.

 
Status Quo of the Cognition of Truth in Musical Education
And still, the phe­nome­non of cog­ni­tion of truth and the de­clared will of com­mu­ni­cat­ing truth through mu­sic are pre­sent in our great clas­si­cal com­pos­ers; and for the lis­tener and cer­tainly also for the mu­si­cian – for the in­ter­preter, but for the mu­sic teacher, too – they ac­count for the great charm and the great at­trac­tion of this lan­guage of sound fraught with truth.

 
The Declared Will of the Great Classical Composers
The act of the mu­si­cal crea­tor is not so much aimed at ex­plain­ing what truth ac­tu­ally is; for truth is what it is any­way – with or with­out the mu­si­cal crea­tor or the lis­tener.

 
The Musical Act beyond Rhetorics
The com­poser mainly focusses on guiding his lis­tener like a somnambulant or a dreamer, but also like a knower, to the source of wis­dom and there to let him drink from the im­mor­tal nectar.
So the com­poser con­cen­trates on the path and sees to it that, when tread­ing this path to­gether, the trust and the con­fi­dence of his lis­tener grows.

 
And here the com­poser takes no risk; he em­ploys all the means of his art to sys­tem­ati­cally in­crease the poetic ca­pa­bil­ity of his lis­tener, and unob­tru­sively and dis­creetly he elimi­nates any doubt.

 
The Listener Turns Poet