THE CLASSICAL COMPOSER AND MUSICOLOGIST PETER HÜBNER
on his International Project of the INTEGRATION OF SCIENCES & ARTS
 
NATURAL
MUSIC HEARING


OUVERTURE
CONVEYING TRUTH IN MUSIC


TEIL I
THE OBJECT OF GAINING KNOWLEDGE IN MUSIC


TEIL II
THE LOGIC OF THE MUSICAL FIELDS OF COGNITION


TEIL III
IMMORTAL AND MORTAL TRADITION OF MUSIC


TEIL IV
THE LIVING EXAMPLE OF THE MUSICAL COGNITION OF TRUTH


TEIL V
THE THREE GREAT STEPS OF THE MUSICAL PROCESS OF GAINING KNOWLEDGE


TEIL VI
THE SYSTEM OF INTELLECTUAL DISCUSSION IN MUSIC


TEIL VII
ERRORS IN GAINING KNOWLEDGE IN MUSIC


TEIL VIII
EQUIVOCATION


TEIL IX
THE SECRET OF MUSIC


TEIL X
THE ULTIMATE GOAL OF GAINING KNOWLEDGE IN MUSIC


TEIL XI
INDIRECT AND DIRECT GAINING KNOWLEDGE IN MUSIC


TEIL XII
THE PATH OF KNOWLEDGE AND THE GOAL OF TRUTH


Music-Analysis and Music-Synthesis


 
The tech­nique of com­pari­son is based on the dual func­tion of our in­tel­lect which we pre­vi­ously de­scribed as be­ing on the one hand:
  1. our in­tel­lect in its func­tion of un­der­stand­ing, where our un­der­stand­ing, with its ana­lyti­cal means, ex­am­ines the mu­sic for more and more com­pre­hen­sive truth; and on the other hand
  2. our in­tel­lect in its func­tion of feel­ing, where our feel­ing ex­pands crea­tively to­wards the mul­ti­plic­ity of our un­der­stand­ing and, in this proc­ess, car­ries the natu­ral di­ver­sity of our in­ner, mu­si­cal, crea­tive proc­ess into our un­der­stand­ing.

 
The Dual Function of the Intellect in the Musical Cognition of Truth
At the same time, these two proc­esses of mu­si­cal cog­ni­tion, outer cog­ni­tion of the mu­sic lis­tener and in­ner cog­ni­tion of the com­poser, are sub­mit­ted to a com­pari­son by our self-aware­ness.

 
Music-Creating and Music-Listening in Comparison
Thus, our in­tel­lect, our feel­ing and un­der­stand­ing, are in­te­grated to­wards the level of pure self-aware­ness and are thereby raised mu­si­cally into the field of the har­mony; for only in this ab­so­lu­te mu­si­cal force-field of the har­mony our tools of cog­ni­tion can make a per­fect com­pari­son be­tween the unity and the di­ver­sity of mu­sic.

 
This com­pari­son be­tween the mu­si­cal in­sights of our feel­ing and of our un­der­stand­ing puts our in­tel­lect, and therewith our mu­si­cal proc­ess of know­ing, into the state of a self-suf­fi­cient ei­gen­func­tion.
And in terms of this two­fold mu­si­cal cog­ni­tion of truth, our in­tel­lect swings within it­self.

 
The Eigenfunction of Gaining Knowledge in Music