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


Freedom of the Musician


 
As stated ear­lier, the com­poser origi­nally does not bind him­self to an in­stru­ment-spe­cific tone but rather thinks,
“How can the mu­sic I have heard within be pro­duced out­side?”

 
Control over the In­stru­ment-Specific Sound
With re­gard to the in­stru­ment, the con­ven­tional prac­tice of play­ing and per­form­ing fol­lows the path of least re­sis­tance
of the in­stru­ment, but it does not win the deep trust of the lis­tener.

 
Bondage of the Musician
This is why, dur­ing the last cen­tu­ries, mu­si­cal forms were changed rap­idly. Through ever new mu­si­cal or­ders the com­pos­ers wanted to in­spire the per­for­mers to seize con­trol – a natu­ral mas­tery – over their in­stru­ments and thus hoped to free them from the dust of life­lessness.

 
The Conventional Means for Gaining Control over the Instrument
The fact that Wagner’s or­ches­tra, for in­stance, sounds dif­fer­ent from Beethoven’s or­ches­tra – even if their re­spec­tive mu­sic is played by the very same or­ches­tra, is sim­ply the ex­pres­sion of the com­poser’s in­ces­sant strive to en­cour­age the mu­si­cian’s mas­tery over his in­stru­ment; for, some­one who does not mas­ter his in­stru­ment with his mind may well pro­duce sounds but not liv­ing mu­sic. And some­one who does not truly want to mas­ter his in­stru­ment is not fit for a mu­si­cian – a fact which is con­firmed by many in­stru­men­talists who retire early from prac­ti­cal mu­si­cal ac­tiv­ity and be­come mu­sic “edu­ca­tors” or con­duc­tors.

 
The System of New Musical Orders
Suc­cess­ful mu­si­cal edu­ca­tion, how­ever, is based on per­sonal ex­ample.

 
True Musical Education