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


The System of the Fields
of Knowledge in Music


 
In the proc­ess of gain­ing knowl­edge in mu­sic the ob­jects of knowl­edge may be very dif­fer­ent:
the ob­ject of knowl­edge may con­cern the tone or re­spec­tively, the tonal struc­ture of the mu­si­cal sound-space;
the ob­ject of knowl­edge may be hid­den within the mu­si­cal sound-space in the next finer mu­si­cal fields of knowl­edge: on the motif level;
the ob­ject of knowl­edge may lie on yet an­other, next higher mu­si­cal level of knowl­edge: in the mu­si­cal fields of knowl­edge of the se­quences;
and fur­ther­more, the ob­ject of knowl­edge may lie in the ab­so­lu­te, mu­si­cal cog­ni­tive field of the har­mony.

 
The Object of Knowledge in the Relative Musical Fields of Knowledge
One would as­sume, that within the mu­si­cal sound-space, al­ways and auto­mati­cally there is a world of mo­tifs, that within the motif-space, al­ways and auto­mati­cally there is a world of se­quences, and that within a se­quence-space, al­ways there is the world of the har­mony.

 
Musical Spaces and Musical Worlds
This as­sump­tion is in­deed valid with re­gard to the spaces them­selves but not with re­gard to their in­ner li­ves.
A body, for ex­ample, might be there with­out life (as in the case of a sculpture) and like­wise, sounds might exist in the mu­si­cal sound-space with­out mo­tifs dwell­ing within them.
And, by anal­ogy, it is well pos­si­ble that in an ap­par­ent motif-space there is no se­quence at all and that fur­ther­more, within the se­quence-spaces the impact of the all-enli­ven­ing har­mony is miss­ing.

 
One must take into ac­count, how­ever, that it is not quite sim­ple to per­ceive the world of mo­tifs within the mu­si­cal sound-space; for this in­sight re­quires logi­cal deduc­tion pene­trat­ing into the depth of the mu­si­cal event and into the mu­si­cal knowl­edge that re­sults.
And one must con­sider that it is even more dif­fi­cult to dis­cover the se­quence within the motif-space, since the se­quence can be found only by vir­tue of even higher logi­cal deduc­tion.
And, unfor­tu­nately, it was only an ex­tremely rare occurence so far be­long­ing to the field of the high­est mu­si­cal reve­la­tions that some­one dis­cov­ered the har­mony as such in the se­quence-space, be­cause the har­mony can be com­pre­hended only with the high­est mu­si­cal logic, and only on the level of pure selfknowl­edge.

 
Insight into the Musical Fields of Cognition
It may also be that in one or the other piece of mu­sic the in­ner mu­si­cal cog­ni­tive forces were not ef­fec­tive even when the mu­sic was cre­ated, and that the com­po­si­tion in the lit­eral mean­ing of the word was purely as­sem­bled from outer ele­ments of the mu­si­cal sound-space like, for ex­ample, from con­ven­tional melo­dies to which a “com­po­si­tion” was then at­tached by means of the knowl­edge ac­quired in con­ven­tional com­po­si­tional classes.

 
The Unalive Musical Composition
Natu­rally, in such a case the in­ner mu­si­cal fields of knowl­edge can cer­tainly not be lo­cal­ized; at best, they may be simu­lated by ex­pert per­for­mers who are geared to outer suc­cess.
The edu­cated lis­tener iden­ti­fies this lack by the absence of the in­te­grated and com­pre­hen­sive mu­si­cal logic in the mu­si­cal work since this absence of truth ex­pres­ses it­self in all parts of the com­po­si­tion, be­cause they are joined to­gether with­out life like the bran­ches, leaves, and roots of a patched-up tree.

 
The Unsuccessful Search for Musical Force-Fields