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
Creative Process in Music


 
How­ever, we find yet an­other kind of su­per­fi­cial deduc­tion, namely the deduc­tion of a sur­face from the con­tent, and this refers to the crea­tive proc­ess in mu­sic as it ex­tends from the ab­so­lu­te force-field of the har­mony through the se­quence-spaces and the motif-spaces into the mu­si­cal sound-space.

 
The Synthesis of the Musical Meaning
In this case, the con­tent of the mu­sic – the in­fi­nitely con­densed, uni­ver­sal, mu­si­cal mul­ti­plic­ity of the har­mony – is sys­tem­ati­cally made grosser, and in the course of this “cre­at­ing” it ap­pears as the mu­si­cal crea­tion of a com­poser.

 
The Structure of the Creative Process in Music
These two kinds of su­per­fi­cial deduc­tion cor­re­spond ei­ther to a deduc­tion from our stand­point as mu­sic lis­ten­ers, or to a deduc­tion from our stand­point as mu­sic crea­tors.
In the dissimi­lar­ity of their deduc­tion they are very natu­rally rooted in the dissimi­lar­ity of our states of knowl­edge.

 
Synthesis and Analysis in Superficial Musical Deduction