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


Musical Relationships


 
In its sys­tems of tonalities, the world of mu­si­cal or­ders con­tains re­la­tion­ships be­tween sounds as clearly de­fined as our hu­man so­cial struc­tures. In the melody, the motif-tech­nique por­trays the coex­is­tence of the in­di­vid­ual with it­self, while the se­quence-tech­nique por­trays the in­di­vid­ual’s coex­is­tence with the other mem­bers of so­ci­ety.

 
Synthesis of Motif- and Sequence-Technique
At the height of ac­com­plished com­pos­ing, the syn­the­sis of motif-tech­nique and se­quence-tech­nique re­sults in an in­te­gra­tion of in­di­vid­ual and so­cial life, so that, from the in­di­vid­ual’s point of view, not only his in­di­vid­ual, but also his so­cial life is cov­ered com­pletely in this per­fect mu­si­cal pres­en­ta­tion.

 
The se­quences de­ter­mine the dif­fer­ent so­cial struc­tures of the mo­tifs – from small to large, from fam­ily to so­ci­ety and even larger; they pro­vide the in­di­vid­ual mo­tifs with the full­ness of the world of un­bound­ed­ness – from the in­fin­ity of the har­mony; for the se­quences are the mul­ti­fari­ous ex­pres­sions of the har­mony, this one great fa­ther of all the motif-chil­dren who in the worlds of se­quences ap­pears in a mani­fold moth­erly form – as a noble, loving guide on their great path of in­di­vid­ual un­fold­ment.

 
The Musical Orders of Power
Here the com­po­si­tion, in the di­ver­sity of its sys­tems and struc­tures, only elu­ci­dates the in­her­ent om­nipo­tence of that one great har­mony which is the basis of all se­quences, all melo­dies, all mo­tifs, and all tones, but also of all mu­si­cal sound-spaces, and which for the en­tire mu­si­cal event is noth­ing other than the mani­fold play of it­self with it­self and within it­self – for the at­ten­tive lis­tener mu­sic per se.

 
The Musical Omnipotence of the Harmony