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


Control over the World of Thinking


 
For the great com­pos­ers of all times it was com­pletely natu­ral to con­trol and rule the in­ner world of their think­ing, and this sov­er­eignty was pre­ceded by an in­ten­sive study of their in­ner forces. This study was based on the es­tab­lish­ment of a sys­tem for their con­trol and was sys­tem­ati­cally de­vel­oped and re­fined, which in turn re­sulted in a re­fine­ment of the mu­si­cal art.

 
The Example of the Great Composers in Refining the Musical Art
From the high de­gree of per­ceiv­able or­der and the con­ti­nu­ity of this com­po­si­tional de­sign we have good rea­son to­day to con­clude that the great mu­si­cal art­ists must have been crea­tive from a pow­er­ful wak­ing state of con­scious­ness – a world of lively fan­tasy, gov­erned by the self. This is the rea­son why the great mu­si­cal poets are so very much alive in the mem­ory of the peo­ple.

 
The Powerful Waking State of Consciousness of the Great Musical Artists
Thus, the in­ner proc­ess of the ar­ticu­la­tion of speech proves to be the proc­ess of ar­ticu­la­tion of our mind, the proc­ess of ar­ticu­la­tion of our think­ing, the mecha­nism for the crea­tion of our thoughts. And to rule this proc­ess of ar­ticu­la­tion means: to rule the proc­ess by which one gen­er­ates a thought, sus­tains it, changes it, and al­lows it to fade again.

 
The Inner Articulation of Music
This sov­er­eignty over his in­ner or­gan of speech is es­sen­tial for the mu­si­cian’s ar­tis­tic achieve­ment – for if he does not mas­ter the mecha­nism of his mu­si­cal imagi­na­tion how then is he going to mas­ter mu­sic? What does he intend to com­mu­ni­cate to his neighbour? And on what basis?

 
The Artistic Achievement of the Musician
Be­fore the mu­si­cian forms a sound with the help of an in­stru­ment he must first ar­ticu­late it men­tally, think it con­sciously, then hear it con­sciously, and he must con­sciously feel the mani­fold ef­fect on him­self of the sound he is think­ing. Only then is he able to assess the ef­fect of this sound on his neighbour.

 
The Basis of Sound Generation
If the proc­ess of mak­ing mu­sic does not take place in this com­pletely con­scious man­ner, the mu­si­cian does not know at all what he is do­ing. And this type of mu­si­cian is re­jected by all great mu­si­cal crea­tors.

 
The Perfect Process of Making Music