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


Homophony


 
Ho­moph­ony is analogous to sol­diers marching in step; it has a strong, su­per­fi­cial ef­fect on the outer ear and on the physio­logi­cal as­pects of hear­ing. So much beauty, how­ever, is dis­played in the in­te­grated and har­mo­ni­ous move­ment of even a centipede, com­pared to such an ar­ti­fi­cial, forced march in step!

 
The Musical March in Step
His­tori­cally, the con­cept of homo­phonic mu­sic arose from the in­abil­ity to think and act from the in­ner­most level of feel­ing in a si­mul­ta­ne­ously dif­fer­en­tiat­ing and in­te­grat­ing man­ner.
In our tech­no­logi­cal age, this con­cept of marching in step cul­mi­nates in rock and pop mu­sic where eve­ry­thing moves in step: the melody, the rhythm, as well as all the ac­com­pa­ni­ment.

 
The Loss of the Musical-Artistic Power
In ho­moph­ony the melody is ham­pered so much by the mass of sup­port­ing voices, that no one be­lieves its free­dom – in spite of even the most skilled in­stru­men­tal ma­nipu­la­tions. Thus, in ho­moph­ony, the melody re­sem­bles the gro­tesque Don Qui­xote who, clad in full ar­mour, se­ri­ously fights the wind­mills. Amidst a mass of “sup­port­ing voices” the melody sim­ply can­not un­fold it­self natu­rally and thus can­not de­velop any genu­ine origi­nality.

 
The Deterioration of Originality in Music
Ho­moph­ony in the wid­est sense means “the sound­ing march in step,” and it there­fore finds its cli­max in marches, in party dance mu­sic, and in the en­ter­tain­ment mu­sic of the masses, in­clud­ing the rock and beat mu­sic which, strange enough, aims at en­cour­ag­ing eve­ry lis­tener to move, men­tally and physi­cally, to the same fixed pat­tern.

 
The Historical Climax of Homophony
Thus, the men­tal-spiri­tual en­er­gies of the mu­si­cians and of the lis­ten­ers do not flow to the head – as would seem ap­pro­pri­ate – but rather down to in­fe­rior re­gions of physi­ol­ogy, thus let­ting the true hu­man quali­ties lan­guish.

 
The Musical Misuse of Mental-Spiritual Energies
How­ever, ho­moph­ony not only rep­re­sents the marching in step of many peo­ple, but also the mo­noto­nous repe­ti­tion of a sin­gle fixed pat­tern of step.

 
The Dual Musical Glorification of Mental Limitation