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


The Technique of
Conveying Truth in Music


 
The mu­sic poet’s deep in­sight into the ex­ist­ing hu­man de­fi­cien­cies is the rea­son why he has suc­ceeded in magi­cally pro­duc­ing this per­fect, crea­tive knowl­edge through mu­sic in his lis­tener – re­gard­less of the quali­fi­ca­tion of the per­for­mer.

 
Directing the Music by Means of the Instrument
In the score he has in­structed the mu­si­cian only how to use the in­stru­ment – in an al­most me­chani­cal man­ner.
The mu­si­cal script he has used in­deed in­cludes the mean­ing, the se­man­tics, the mu­si­cal sense, but as a script it is not at all re­lated to the se­man­tics as such.

 
From the com­poser’s score, there­fore, the mu­si­cian could glean only hints for the use of his in­stru­ment, and by im­ple­ment­ing them in de­tail the mu­si­cal state­ment re­sulted all by it­self.

 
Be­ing de­vel­oped by the great poets of mu­sic, this mu­si­cal script, this kind of encipherment for­tu­nately disal­lowed the in­ter­preter to se­ri­ously de­stroy the mu­si­cal state­ment, or to fun­da­men­tally change it.

 
Indestructibility of the Musical Statement
Given the con­ven­tional way of writ­ing, the me­chani­cal read­ing of the mu­si­cal script rules out such risk. Like­wise, due to its me­chani­cal func­tion, a com­puter is not aware of the mean­ing of the data which it stores and trans­mits, and there is no need for it to be so.
But still it is pos­si­ble and com­mon in­deed, to trans­mit with its help a mean­ing­ful mes­sage.

 
Freedom and Non-Freedom of the Interpretation in Music
So, the great crea­tors of mu­sic knew how to convey over great spans of time the knowl­edge con­tained in their sound­ing poetry to the lis­tener – de­spite se­vere in­ter­pre­ta­tional in­ade­qua­cies.

 
Music Creators as Wise Knowers of the Musical Scene
This is not at all to say that a mu­si­cian or an in­ter­preter is not able to have such crea­tive mu­si­cal ex­peri­ence, too; it only means that – con­trary to popu­lar notion – while con­trol­ling the in­stru­ment as pre­scribed to him, he need not be able to make a deep mu­si­cal ex­peri­ence in or­der to in­tro­duce a true mu­sic lover to the re­al­ity of mu­sic.

 
This re­minds of stand­ing be­fore a child, wondering and be­com­ing aware of the crea­tive po­ten­tial mani­fest in it, while the child’s uncle, who leads it by the hand, has no sense of such wonder.

 
The Official and the Secret Knower of Reality