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


Integration of Levels of Creativity


 
Thus the over­tone-me­chan­ics, the motif-tech­nique, the se­quence-tech­nique, and the har­mony-tech­nique are di­rectly based on the har­mony. In truth-ori­ented mu­sic all these lev­els of crea­tiv­ity are di­rectly rooted in the har­mony.

 
Types of Rulership of the Harmony
Al­though the over­tone-me­chan­ics gov­ern the sound-space from inside,
the motif-tech­nique gov­erns the motif-spaces from inside,
the se­quence-tech­nique gov­erns the world of the se­quences from inside,
and the har­mony-tech­nique gov­erns all these worlds to­gether from inside, ac­tu­ally, all these four di­men­sions are empowered by the har­mony di­rectly,
and the har­mony-tech­nique, the se­quence-tech­nique, the motif-tech­nique, and the over­tone-me­chan­ics are but dif­fer­ent forms of rule of the one uni­ver­sal har­mony in vary­ing de­grees of com­pre­hen­siveness.

 
So, the com­po­si­tional world of a su­pe­rior or­der is al­ways in two ways more com­pre­hen­sive than the re­spec­tive world of an in­fe­rior mu­si­cal or­der:
firstly, more com­pre­hen­sive from out­side – with re­spect to the sound-space per­ceived,
and sec­ondly, more com­pre­hen­sive from inside, be­cause the com­po­si­tional world of a su­pe­rior or­der al­ways embod­ies a higher de­gree of sub­tlety.

 
Dual Sovereignty of the Musical Systems of Order
The si­mul­ta­ne­ous com­pre­hen­sion of the “ver­ti­cal” and the “hori­zon­tal” sys­tems of or­der through the in­te­grated func­tion of feel­ing and un­der­stand­ing ac­counts for the great at­trac­tion of clas­si­cal mu­sic.

 
The Great Attraction of Classical Music
If cre­at­ing and per­form­ing mu­sic wants to radi­ate life, the in­te­gra­tion of feel­ing and un­der­stand­ing is al­ways re­quired. If this in­te­gra­tion is not es­tab­lished, mu­sic lacks its basis of enli­vened si­lence, and will merely be an in­ner or outer pres­en­ta­tion of an acous­tic event.

 
Lively Musical Radiation
At a cer­tain de­gree of mu­si­cal or­der the sov­er­eignty of the har­mony is called “over­tone-me­chan­ics”; at a higher de­gree of or­der the sov­er­eignty of the har­mony is called “motiv-tech­nique”; at a still higher de­gree of or­der it is called “se­quence-tech­nique”; and at the most com­pre­hen­sive or­der the sov­er­eignty of the har­mony is called “har­mony-tech­nique.”

 
The Sovereign Structure of the Harmony