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


Absolute Love of Truth in Music


 
While con­ven­tional phi­loso­phy – op­er­at­ing on the mean­ing of spo­ken or writ­ten words – at­tempts in a rather indis­creet man­ner to guide man to­wards truth and even, while still on the way to­wards truth, con­tinu­ally tries hard to ensure that it speaks out truth alone, the clas­si­cal com­poser on the path to com­pre­hen­sive truth is not so much con­cerned with de­tail truth.

 
The Path of Knowledge and the Goal of Truth in the System of Scientific Philosophy
If nec­es­sary, he even em­ploys a white lie to take the lis­tener to­wards truth in the end.

 
The Path of Knowledge and the Goal of Truth in Music
To the clas­si­cal mu­sic crea­tor, the steps of knowl­edge are but a means to achieve com­plete con­vey­ance of truth, and he at­taches only as much im­por­tance to them as to an intricate way that leads to a great goal.

 

The Philosophical Standpoint of the Musical Creator
While the sci­en­tific sys­tem of phi­loso­phy – like the other sci­ences, too – per­ma­nently tries to prove truth even on the way to­wards it, the clas­si­cal com­poser takes the seek­ing lis­tener by the hand, leads him through ob­scure spaces, de­scribes to him all kinds of imagi­nary shin­ing ob­jects in these spaces, and con­tin­ues this proc­ess un­til the lis­tener dis­cov­ers these seem­ingly outer spaces and the ob­jects de­scribed therein within him­self, un­til his search for truth has thus found ful­fil­ment.

 
The Adoration of Relative Truth in the System of the Scientific Philosophy

The Absolute Admiration of Truth in Music
Un­like the sci­en­tific sys­tem of phi­loso­phy and above all, un­like the other sci­ences – par­ticu­larly the natu­ral sci­ences – the true art of tones is not at all con­cerned with outer na­ture which it per­ceives es­sen­tially as a mere re­flec­tion of the in­ner-hu­man na­ture.

 
The Scientific System of Philosophy under the Influence of the Natural Sciences
There­fore, it sys­tem­ati­cally re­fines the rep­re­sen­ta­tion of the outer as­pect of na­ture – start­ing from ob­jects in the mu­si­cal tone-space – through the sphere of sub­jec­tiv­ity, thus guiding the unaware seeker of truth, the con­scious mu­sic lover, into the world of his own free ful­fil­ment of de­sires – into the world of his hav­ing-reached-the-goal, into the world of his hav­ing-no-longer-to-seek, into the world of his truth, into his world of ful­fil­ment.

 
Conveyance of Knowledge in Music on the Basis of Personal Knowledge of Truth