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 Inner World of Power
of the Melody


 
Each tone of the melody de­ter­mines all tones past and all those yet to come. Un­der the aus­pices of the se­quence, the me­lodic guid­ance struc­tures it­self from the world of the har­mony. From here, past, pre­sent, and fu­ture can not only be com­pre­hended, but even in­flu­enced.

 
The Power Relationship in the Melodic Unfoldment
This al­most un­be­liev­able mas­tery over even the past is not based on any outer act of will, but on in­tui­tion, and is not con­trolled through the fac­ulty of un­der­stand­ing; it hap­pens in­no­cently, from the deep­est depth of feel­ing, with­outh analytic in­ten­tion.

 
Intuition
If a com­poser lacks a natu­ral mas­tery over this fun­da­men­tal power of in­tui­tion, then mu­si­cal art is not pos­si­ble. The mu­si­cian, who is sup­posed to sim­ply say the truth, be­comes an in­ter­preter, a transcriber of truth, who tries to de­scribe in­fin­ity from a com­pletely dif­fer­ent men­tal realm, i.e. from his own, finite world – with­out suc­cess, be­cause of his lack of cog­ni­tive power.

 
The Musical Art
Based on this in­sight, one may say that the over­tone mo­tifs, ac­tive within the sound, are re­lated to the ap­par­ent mo­tifs – which are noth­ing but suc­cessions of tones – in the same way as some­one’s in­ner un­fold­ment of per­son­al­ity is re­lated to his outer ac­tiv­ity.

 
The Inner Activity of the Motifs
If this “in­ner ac­tiv­ity” of the over­tone mo­tifs does not take place in the mi­cro­cosm of mu­sic, it cor­re­sponds to the move­ments of a robot, which may look like hu­man yet has no life.

 
Overtone Motifs Sound-Space