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


The “New Sound” Composers of the 20th Century and the Range of Intervals


 
Even­tu­ally, with the con­struc­tion of valve in­stru­ments, the in­ter­est for these great, natu­ral main in­ter­vals faded, and the “new sound” com­pos­ers of the 20th cen­tury turned to even finer in­ter­vals of the ma­jor and minor sec­ond – that is, the space be­tween the sev­enth and eighth over­tone, the eighth and ninth over­tone; or the space be­tween the ninth and tenth over­tone, and the tenth and elev­enth over­tone re­spec­tively.

 
Mechanistic Differentiation in the Musical Macrocosm
At this point, how­ever, the new com­pos­ers be­gan to intimidate the mu­sic lover; for, even to the un­edu­cated ear, the discrepancy of the “forced marriage” be­tween the mi­cro­cosm and the mac­ro­cosm of mu­sic be­came clear; a marriage, in which the mi­cro­cosm pro­duces shrill dis­so­nances due to the lack of sen­si­tiv­ity of the mac­ro­cosm.

 
The Forced Marriage of Macrocosm and Microcosm of Music
The continu­ous play­ing of tones at too small in­ter­vals causes a friction be­tween their high over­tones, which are too closely spaced, and cre­ates a strange sharpness of shrill dis­so­nances, thus de­stroy­ing the com­pre­hen­sion of the in­ner con­tent of a com­po­si­tion – since they shift the at­ten­tion of the lis­tener, and even that of the mu­si­cian, in­ces­santly from the immanent logic of the com­po­si­tion to the gross com­bat of over­tones. Thus, each over­tone fights its neighbour for su­pe­riority, some­thing we per­ceive as shrill, and reject as un­pleas­ant.

 
The Friction between High Overtones
This leads us to twelve-tone mu­sic and to the tech­nique of serial com­po­si­tion of the 20th cen­tury – the so-called avantgarde.

 
The Twelve-Tone Music and the Serial Composing Technique
Not that the great clas­sics had been un­able to write in sec­onds or to pro­duce dis­so­nances, but in the mixture of the outer-mu­si­cal mac­ro­cosm and the in­ner-tonal mi­cro­cosm they rather knew the natu­ral limits, which exist as long as the mu­si­cian does not mas­ter the mi­cro­cosm of mu­sic.

 
There­fore, the great clas­si­cal com­pos­ers from Bach to Wagner only ap­proached, but never crossed, the bor­der to dis­har­mony, and thus cre­ated mostly har­mo­ni­ous mu­sic.

 
The Tonal Orientation of the Great Composers in the Classical Era
This in­di­cates that they were guided by their natu­ral in­ner hear­ing, and that to them a lined sheet of paper was not a draw­ing board for the con­struc­tion of mu­sic.
With per­fect con­fi­dence the great clas­si­cal mu­si­cians sim­ply brought to paper what they heard within.

 
Beyond Constructing Music on the Drawing Board