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


Equivocation through Deducing
the Form from the Meaning


 
Hav­ing reached the ab­so­lu­te mu­si­cal force-field of the har­mony, we real­ized that the ac­tual re­al­ity of mu­sic exists be­yond space and time.
And from this new stand­point we found the rela­tive mu­si­cal proc­ess of evo­lu­tion in space and time to be a more or less exact, yet lim­ited re­flec­tion of this uni­ver­sal mu­si­cal-dy­namic re­al­ity.

 
The Absolute Reality of Music beyond Space and Time
And as we be­come crea­tive out of this state of pure self-aware­ness in a natu­ral and spon­ta­ne­ous man­ner, and as our crea­tive po­ten­tial ex­pands in a free flow of thought from the ab­so­lu­te mu­si­cal level of the har­mony to the rela­tive spaces of the se­quences, mo­tifs, and tones, then we carry in a very natu­ral man­ner the ab­so­lu­te mean­ing, which we found in the har­mony, like sparks of an im­meas­ur­able glow into the rela­tive world of mu­sic.

We are sure: we com­pose.

 
The Creative Path of Musical Specification
It is these sparks which then safely guide the lis­tener, who still stands at the be­gin­ning of his rela­tive mu­si­cal proc­ess of know­ing and who strives for the knowl­edge of higher truth, through the rela­tive mu­si­cal force-fields of the mu­si­cal sound-space, of the mo­tifs, and of the se­quences, and into the ab­so­lu­te mu­si­cal world of the har­mony, and which sys­tem­ati­cally put him into the po­si­tion of a mu­si­cal crea­tor.

 
Lights on the Way to Musical Knowledge
Thus, as mu­si­cal crea­tors, we very natu­rally deduce from the mean­ing of mu­sic with­out space and time, to the form of mu­sic within space and time, and we know mean­ing and form one af­ter the other – i.e. sepa­rate from each other in time.

 
Evolution of the Musical Force-Fields
With re­spect to the mu­sic lis­tener, how­ever, the se­quence is re­versed.