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 Differentiated Apprehension
of the Power of Harmony


 
Ba­si­cally, it is the har­mony which di­rectly re­veals it­self in the tone, in the motif and in the se­quence. But the dif­fer­en­ti­ated ap­pre­hen­sion of this di­rect power ex­pres­ses it­self in the sys­tems of the over­tone-me­chan­ics, the motif-tech­nique, the se­quence-tech­nique, and the har­mony-tech­nique.

 
The Systems of the Overtone-Mechanics, the Motiv-Technique, the Sequence-Technique, and the Harmony-Technique
Deeper and deeper in­sight into more com­pre­hen­sive mu­si­cal or­ders gives the mu­si­cian, as well as the lis­tener, ever more ful­fill­ing knowl­edge, and thus trans­forms the mu­sic lis­tener into a mu­sic lover.

 
Thus, the vari­ous “hori­zon­tal” sys­tems of mu­si­cal or­der appear merely as outer ex­pres­sions of the se­cret “ver­ti­cal” sov­er­eignty of the har­mony.

 
The Inner-Human Path of Realization
On the other hand, from this “ver­ti­cal” view­point the un­der­stand­ing arises that

 
The Dual Musical Structure of Order
    from a state of greater sub­tlety the world of lesser sub­tlety is gov­erned, and that

    from the sub­jec­tive world the ob­jec­tive world is gov­erned.
Thus, from a su­pe­rior or­der
    the world of the sound-space is ruled by the world of the motif,

    the world of the motif is ruled by the world of the se­quence,

    and the world of the se­quence is ruled by the har­mony.

 
Mastership of the Musical Creator over the Created Composition
From the state of greater sub­tlety, the motif per­me­ates the mu­si­cal sound-spaces from within:
    the motif cre­ates them, fills them with life, sus­tains them, de­stroys them.
From the state of even greater sub­tlety, the se­quence per­me­ates the motif-spaces from within:
    the se­quence cre­ates them, fills them with life, sus­tains them, de­stroys them – and with them the sound-spaces.
From the state of great­est sub­tlety, the har­mony per­me­ates the se­quence-spaces from within:
    the har­mony cre­ates them, fills them with life, sus­tains them, de­stroys them – and with them the motif-spaces, and with these again, the sound-spaces.

 
Power Relations in the Musical Force Fields
These are the two fun­da­men­tal an­gles un­der which to con­sider the in­ner mu­si­cal or­der:
The hori­zon­tal an­gle, men­tioned ear­lier, takes the outer size of the re­spec­tive sys­tems as the cri­te­rion to gain knowl­edge; the ver­ti­cal an­gle takes the de­gree of mu­si­cal sub­tlety as the cri­te­rion to gain knowl­edge.

 
Criteria for the Complexity and the Degree of Subtlety