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 Conventional Practice
of Notation


 
In con­ven­tional prac­tice, the no­ta­tion mainly con­tains play­ing in­struc­tions on how to use the mu­si­cal in­stru­ments, for ex­ample speci­fy­ing the pitch of the ba­sic tone; its over­tone struc­ture, how­ever, is not in any way noted down. In a con­ven­tional score, only lim­ited in­for­ma­tion about the spec­trum of over­tones can be gath­ered from the in­stru­men­ta­tion; thus only a lim­ited spec­trum of over­tones is real­ized in the ac­tual per­form­ance.

 
Lack of Understanding of the Symbols of Inner Enlivenment
We can pre­sume that in for­mer times, in the early days of this form of lim­ited play­ing in­struc­tion, mu­si­cians had a far greater po­ten­tial of in­ner enli­vened fan­tasy at their dis­posal, and had a sub­stan­tially greater for­ma­tive will than the mu­si­cians of to­day. And in all like­li­hood this mu­si­cal wealth was per­ceived and ap­pre­ci­ated with due re­spect by the lis­tener of that time.

 
“Music” without Meaning
How else can we ex­plain the impact that a ma­gi­cian of his in­stru­ment had like, for ex­ample, Paganini who, through his mi­racu­lous play, made his au­di­ences ask them­selves se­ri­ously whether he ac­tu­ally ex­isted as a hu­man be­ing, or whether he was only a figment of their imagi­na­tion (they even rushed on stage and touched the vio­lin­ist to de­ci­sively an­swer this ques­tion).

 
Time-Prevailing Insight
Only the enli­vened fan­tasy of such mu­si­cians jus­ti­fies his­tori­cally a no­ta­tion so lim­ited as the con­ven­tional one, which is still in gen­eral use to­day.

 
Realizing the Compositional Idea
Later, how­ever, the world gave up the for­mer, rather phi­loso­phi­cal, in­ner way of de­scrip­tion and, dur­ing the last cen­tu­ries, went through a radi­cal change to­wards a con­crete, outer de­scrip­tion of pri­mar­ily physi­cal phe­no­mena. Thus, the mu­si­cian of to­day ex­pects a simi­lar pic­ture of gross, sci­en­tifi­cally exact defi­ni­tions in the scores. He even con­siders it a great ideal not to de­vi­ate in any way from this ap­par­ent outer form of de­scrip­tion; and, try­ing to ad­here as closely as pos­si­ble to this seem­ingly fixed in­for­ma­tion, he sim­ply thinks as a child of his time.

 
The Music Scene