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


“... to com­pose some­thing which up­lifts
and en­cour­ages man­kind -
some­thing of per­ma­nent value.”

Johannes Brahms


 

Supreme Musical Knowledge


 
Com­plete ful­fil­ment in mu­sic lies in the spon­ta­ne­ous, si­mul­ta­ne­ous cog­ni­tion of all mu­si­cal layers of or­der in their com­plete in­te­gra­tion; it is there­fore based on the pure cog­ni­tion of truth it­self – be­yond the mu­si­cal attire.

 
Consciousness on the Level of all Musical Layers of Order
The mu­si­cal lev­els of dif­fer­ent com­po­si­tional de­grees of sub­tlety dif­fer from one an­other struc­tur­ally in their de­gree of den­sity of in­for­ma­tion. Here “poetry” finds its di­rect ex­pres­sion: a proc­ess of continu­ous con­dens­ing and re­fin­ing, while re­tain­ing all as­pects.

 
The Poetry of Music
In the in­fi­nite den­sity of the har­mony the en­tire com­po­si­tion is there in seed form, and only for the brief moment of hear­ing it de­vel­ops into the au­di­ble world of mu­sic as the cre­ated com­po­si­tion.

 
The Degree of Density of Information in Music
The enli­vened si­lence of the har­mony, deep within the heart of the com­poser, is also the heart of each of his com­po­si­tions; it is the ori­gin and the goal of his mu­sic: it is the great ocean of all that which vi­brates in vari­ous wave for­ma­tions as com­po­si­tions into the ob­jec­tive sphere of the mu­si­cal sound-space in the mind of the mu­si­cal crea­tor.

 
The Heart of Music
With its means of com­po­si­tion, mu­sic is pre­des­tined to pre­cisely de­scribe the in­ner-hu­man evo­lu­tion in a clear and dis­tinct man­ner. There­fore, the lis­tener feels un­der­stood sim­ply as a hu­man be­ing by the com­poser. Through the state­ment of the mu­sic he finds con­fir­ma­tion of much of his in­ner re­flec­tion, and in the mu­si­cal crea­tor he finds a friend who shares his very per­sonal thoughts.

 
The Dimension of the Musical Language
In this way the great com­pos­ers have helped those who found them­selves mis­un­der­stood in their deep in­sights by the thought­less masses; those who would have doubted the va­lid­ity of their own truths un­der the pres­sure of the masses, if not some­one ac­knowl­edged as great had pro­claimed those same in­sights in the lan­guage of mu­sic, and if he had not reas­sured them in their ex­cep­tional knowl­edge, a knowl­edge pos­si­bly in­con­ven­ient to their sur­round­ings yet ful­fill­ing to them­selves, a knowl­edge which they knew to be true.

 
The Cognizing Man
Here, the clas­si­cal com­poser ap­pears to the lis­tener as a com­pan­ion who stood against the pres­sure of the masses him­self, and who passed on his love of truth to this par­ticu­lar lis­tener.

 
Confirmation of Comprehensive Insights