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


Space-Experience in the Microcosm
of Music


 
To­day, the natu­ral spec­tra of over­tones of a tone can eas­ily be iden­ti­fied with sci­en­tific means. Due to in­suf­fi­cient cul­ti­va­tion of his in­ner hear­ing, how­ever, the con­ven­tion­ally trained mu­sic ex­pert is un­able to per­ceive the spec­trum of over­tones on the level of his in­ner ear.

 
Perceiving the Natural Overtone-Spectra of the Tone
Even to the per­form­ing mu­si­cian the spec­trum of over­tones of his in­stru­ment is not known in de­tail.
Just as he plays his in­stru­ment with­out be­ing able to dis­tin­guish its in­di­vid­ual atoms – let alone the com­bi­na­tions of pro­tons, elec­trons, and neu­trons – he only hears the ba­sic tones of the mu­sic he is play­ing, and some­thing like a timbre, but not the in­di­vid­ual over­tones, which are lo­cated, as it were, on atomic and sub­atomic lev­els. With proper train­ing how­ever, one is able to hear the struc­ture of the over­tones.

 
Ignorance of the Atomic and Subatomic World of the Sound-Space
The “in­ter­val,” the dif­fer­ence in pitch, is an ex­ter­nal mu­si­cal means to de­scribe the field of po­ten­tial en­ergy.

 
Space-Experience of the Understanding
An en­hancement of the ex­peri­ence of space through the un­der­stand­ing is brought about by elucidating the space be­tween the sin­gle over­tones of a sound by pro­jecting these over­tones to dif­fer­ent points in the acous­tic space.

 
Enhancement of the Space-Experience of the Understanding
The dif­fer­ence in am­pli­tude is an ex­ter­nal mu­si­cal means to de­scribe the field of kinetic en­ergy.

 
The Dynamic Space
The ex­peri­ence of space through the feel­ing is en­hanced by mak­ing au­di­ble the in­te­gra­tion of clearly dif­fer­en­ti­ated am­pli­tudes which, play­fully danc­ing to the pat­tern of the com­po­si­tion, light up like shoot­ing stars at vari­ous points in space.

 
Enhancement of the Space-Experience of the Feeling
The most com­pre­hen­sive ex­peri­ence of space re­sults from the in­te­gra­tion of the ex­peri­ence of space through feel­ing and un­der­stand­ing. This oc­curs when, in the proc­ess of our mu­si­cal cog­ni­tion, the po­ten­tial and the kinetic en­er­gies reach such a state of bal­ance that their forces cancel each other out.

 
The Integrated Space-Experience
In this case the hu­man mind, stimu­lated by the outer per­cep­tion of mu­sic, reaches a state of sus­pen­sion which re­sults in a feel­ing of weightlessness, and which has a lib­er­at­ing in­flu­ence on our per­son­al­ity in gen­eral.

 
The Balance of Musical Forces
At this moment, all mu­si­cal forces, or­gan­ized in space and time, cancel each other out, and space and time merge com­pletely and per­fectly.