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


Responsible Authorship


 
Sim­ply by as­cer­taining how pleas­ant his own mu­si­cal thought is to him­self, his feel­ing in­forms the com­poser about the ef­fect of his thought on its sur­round­ings. Thus, through the proc­ess of feel­ing, the dis­crimi­nat­ing in­tel­lect of the mu­si­cal crea­tor ana­lyzes the ef­fect of his mu­si­cal thought on its en­vi­ron­ment. The fac­ulty of un­der­stand­ing of his in­tel­lect ana­lyzes the spec­trum of his mu­si­cal thought, and iden­ti­fies the emo­tional pa­rame­ters which impel it.

 
Music Analysis
His in­tel­lect, with the help of the feel­ing in­her­ent in it, ex­am­ines the in­te­gra­tion of these mu­si­cal pa­rame­ters and de­ter­mines the har­mo­ni­ous de­vel­op­ment of the com­po­si­tion: the in­ner mu­si­cal event, as per­ceived by the sense of hear­ing, is the sound­ing tes­ti­mony of this proc­ess, and it heralds hu­man feel­ing and un­der­stand­ing.

 
Thus, the com­poser uses his mind as a me­dium to por­tray the mu­si­cal sound-space: to de­scribe his own sub­jec­tive sphere.

 
The Function of the Musical Sound-Space
In this way, for the mu­si­cal crea­tor, the ob­jec­tive mu­si­cal sound-space, that which sounds inside, be­comes the in­stru­ment for de­scrib­ing the sub­jec­tive in gen­eral.

 
The natu­ral proc­ess of com­pos­ing arises all by it­self, and it ends with the mu­si­cal crea­tor per­form­ing, and si­mul­ta­ne­ously lis­ten­ing, to his own con­cert within him­self.

 
The Function of Musical Thinking
The com­poser submits this proc­ess of his mu­si­cal think­ing to the natu­ral, in­ner­most con­trol of his feel­ing and un­der­stand­ing, and this is his own in­ner act of will.

 
This con­scious, in­ner act of the com­poser cre­at­ing mu­sic in his aware­ness be­comes later on a mani­fold in­spi­ra­tion for the mu­sic lover striv­ing to­wards uni­ver­sal joy of life;
  1. mani­fold in terms of the art of con­fi­dently striding through the in­fin­ity of his hu­man abili­ties;
  2. mani­fold in terms of the course of un­fold­ment
    of his hu­man char­ac­ter;
  3. mani­fold in terms of over­com­ing ob­sta­cles dur­ing
    the growth of his char­ac­ter.

 
The Inner Act of Cognition
In this way a mani­fold struc­ture of mu­si­cal or­ders origi­nates within the com­poser’s in­ner world of cog­ni­tion, and his or­ga­niz­ing un­der­stand­ing, un­der the guid­ance of his feel­ing, di­rects this in­ner mu­si­cal course of evo­lu­tion.

 
Controlling the Musical Orders