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


The Twofold System of Music Analysis of the Composer


 
While the self of the com­poser, through the in­tel­lect, fath­oms the sub­jec­tive sphere on the level of the mind, and per­ceives it as be­ing very alive, that very same self scans the sound on the level of the mind from out­side, through the sense of hear­ing as if with a meas­ur­ing in­stru­ment, and makes the com­poser the first lis­tener of his work.

 
The Subjective and Objective Methods of the Music Creator for Comprehending Music
Due to its na­ture the feel­ing as­pect of the in­tel­lect is as­so­ci­ated with more life than the un­der­stand­ing, and there­fore the lis­tener will al­ways ex­peri­ence the knowl­edge per­ceived on the level of his feel­ing as much more lively than the in­for­ma­tion brought in by his un­der­stand­ing.

 
The Listener's Twofold System of Music Analysis
By vir­tue of this two­fold-struc­tured sys­tem, based on the feel­ing and the un­der­stand­ing, for gath­er­ing mu­si­cal in­for­ma­tion through the in­tel­lect, the lis­tener re­gards the lively in­ner as­pect of the men­tal mu­si­cal sound-space, which he pre­domi­nantly per­ceives by his feel­ing, as sub­jec­tive. And in con­trast, he re­gards the less lively, outer as­pect of the men­tal mu­si­cal sound-space, which he per­ceives rather by his un­der­stand­ing, as life­less, or as ob­jec­tive.

 
The Listener's Subjective and Objective Methods for Comprehending Music
Nev­er­the­less, the con­scious self of an alert lis­tener will be aware at all times that na­ture, as mu­sic de­scribes it, is al­ways lively and sub­jec­tive, never dead or, in the sci­en­tific ma­te­ri­alis­tic sense, ob­jec­tive.

 
The Cognition of the True Sphere of Music as Completely Subjective
The re­al­is­tic, ho­lis­tic de­scrip­tion of the liv­ing re­al­ity through the “spo­ken word” of mu­sic is ex­tremely pro­found and sys­tem­atic – even by to­day’s sci­en­tific stan­dards. This fact, amongst oth­ers, ac­counts for the per­sua­sive power of clas­si­cal mu­sic.

 
The Spoken Word of Music in the Fire of Scientific Investigation
How­ever, life can­not be pres­sed into pat­terns of ra­tional num­bers. Cor­re­spond­ingly, the ir­ra­tional ele­ment pre­domi­nates in clas­si­cal mu­sic and the dif­fer­ent mu­si­cal pa­rame­ters in­ter­act in ra­tios of ir­ra­tional num­bers, and it is this con­trolled in­cal­cu­la­bil­ity from which the great ap­peal of mu­sic, that re­al­is­tic lively lan­guage, really arises.

 
The Controlled Incalculability of the Musical Language
As op­posed to the con­ven­tional, ra­tional, ma­te­ri­al­is­ti­cally-ori­ented natu­ral sci­ences, mu­sic de­scribes the re­al­ity of life in the fan­tas­tic di­men­sion of ir­ra­tional val­ues. Al­though the edu­cated mu­si­cian may com­pre­hend the real world ho­lis­ti­cally and in­tui­tively, he can only de­scribe it cor­rectly with ir­ra­tional val­ues, if he wants to ex­press the re­al­ity of life sat­is­fac­to­rily.

 
Music in the Perfect System of Irrational Values