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


Equivocation through Deducing
the Meaning from the Form


 
As the mu­sic turns our at­ten­tion to­wards fields of more and more subtle or­der of the mu­si­cal rep­re­sen­ta­tion of truth, and pre­sents the sub­tler pic­tures of truth more and more clearly to us in the course of the mu­sic, we tran­scend with our en­tire ex­peri­enc­ing, feel­ing and un­der­stand­ing the phe­no­mena of na­ture that are dis­played struc­tur­ally in the mu­si­cal work, and we fi­nally reach the place from where the na­ture of our think­ing, of our feel­ing, and of our evo­lu­tion origi­nates.

 
The Path of Cognition to the Source of Music
This is the very place where mu­sic origi­nates, too.

 
Once we have ar­rived there, we have reached the natu­ral stand­point of a crea­tor of mu­sic.
Our think­ing has adopted the struc­ture of the ab­so­lu­te sound-sub­stance, and our mind sways with the per­fect, ab­so­lu­te, fun­da­men­tal vi­bra­tion of na­ture, of its own in­ner na­ture, and of all outer na­ture.

 
The Force-Field of the Absolute Sound-Substance
We bring about the full enliv­en­ment of our feel­ing and un­der­stand­ing, and their co­or­di­na­tion, through our per­cep­tion of the per­fect fun­da­men­tal vi­bra­tion of the ab­so­lu­te sound-sub­stance, that cos­mic force from which ob­vi­ously eve­ry great mu­si­cal crea­tor cre­ates.

 
The Way to Musical Creative Power
As we cog­nized laws of in­creas­ingly higher or­der, in­creas­ingly more com­pre­hen­sive truths, and in­creas­ingly more pow­er­ful mu­si­cal for­ma­tive forces, we rushed through stages of more and more com­pre­hen­sive gen­eralization in our rela­tive proc­ess of gain­ing knowl­edge in mu­sic.

 
Musical Generalization as a Path of Cognition
We ori­ented our­selves pre­domi­nantly by the form, and searched from there for an al­leged mean­ing.

 
Within the struc­ture of the mu­si­cal sound-space as the form, we even­tu­ally per­ceived the motif worlds as its con­tent.
Later, within the mu­si­cal form of the motif worlds, we dis­cov­ered the even more subtle mu­si­cal force-fields of the se­quences as the mu­si­cal con­tent.
And fi­nally, within the se­quence struc­tures as the form, we dis­cov­ered the har­mony as its con­tent.

 
Generalization in the Musical Force-Fields
Even­tu­ally, this tech­nique of sys­tem­atic gen­eralization in our mu­si­cal proc­ess of gain­ing knowl­edge brought us safely into the unlim­ited mu­si­cal world of the har­mony.

 
The Composed Process of Musical Generalization
In the mu­si­cal work, this tech­nique of gen­eralization had been marked out by the com­poser in a very dis­creet man­ner for us lis­ten­ers, and it made up the ac­tual charm of his mu­sic – with­out our­selves be­ing aware of it origi­nally.

 
So, dur­ing the proc­ess of our gain­ing knowl­edge in mu­sic, the tech­nique of gen­eralization turned out to be the sure path to­wards mu­si­cal truth.
For the proc­ess of cog­ni­tion was based on a sepa­ra­tion of con­tent and form.

 
The Safe Path towards Musical Truth
Form and con­tent al­ways re­vealed them­selves one af­ter the other – sepa­rate from each other in space and time.
Thus we per­ceived the rela­tive mu­si­cal force-fields as the form of mu­sic, and the field of the har­mony as its con­tent.
For us cog­nizers of mu­sic this re­sults in a two­fold in­ter­pre­ta­tion of mu­sic.