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 Secret Exchange of Experiences
of the Listener with
the Creative Form of the
Music Creator


 
Mu­sic bears many a se­cret; to some­one, there­fore, who is not prac­tised in gain­ing knowl­edge in mu­sic, mu­sic often ap­pears with­drawn and strange in many ways.
To the ini­ti­ate, how­ever, it is so fa­mil­iar in many ways be­cause it shares its se­crets with him.

 
Being Familiar with Music
The fa­mil­iarity with mu­sic comes about by the se­cret flow of truth be­tween the com­poser and his mu­sic lis­tener.

 
If mu­sic is a se­cret, then only in this sense; be­cause some­thing one does not know is not a se­cret but just some­thing un­known, while a se­cret is some knowl­edge one shares with some­one else or with a few, and which is not talked around in the gen­eral pub­lic.

 
The se­cret of mu­sic, there­fore, lies pri­mar­ily in the dis­creet as­so­cia­tion of a mu­sic lover with the crea­tive effluence of a true crea­tor of mu­sic, and it mani­fests it­self in that silent dia­logue which takes place be­tween the com­poser and his trustful mu­sic lis­tener, a dia­logue which escapes the mu­sic-con­sum­ing masses around the mu­sic lis­tener.

 
Gathering Musical Truth without the Mass of Music Consumers
In his per­sonal ex­change of ex­peri­ences with the mu­si­cal crea­tor, for the true mu­sic lis­tener the neigh­bour­ing lis­tener sim­ply does not exist.
To the knower only his very per­sonal dia­logue with the crea­tive form of the great mas­ter of tones exists, who conveys to him, through the in­ter­preter, his in­sights into hu­man life.
How­ever, this is only the first stage of mu­sic lis­ten­ing, and the com­poser aims at some­thing more, some­thing higher.

 
With the help of his mu­si­cal state­ments the tone poet stimu­lates one af­ter an­other spe­cific spaces of cog­ni­tion within the lis­tener to vibrate and he de­ter­mines the pro­por­tions of the re­ver­ber­at­ing spaces in such a man­ner that they vibrate har­mo­ni­ously to­wards each other and with each other.
When he cre­ated the mu­si­cal work, the mu­sic poet had set these in­ner, re­ver­ber­at­ing, cog­ni­tive spaces into vi­bra­tion within him­self, too, and so he knows their ef­fect on the in­di­vid­ual per­son­al­ity, on the in­di­vid­ual soul.

 
Control over the Musical Process of Knowing
Now, in his per­sonal ex­peri­ence while lis­ten­ing to the mu­sic, his lis­tener per­ceives these re­ver­ber­at­ing spaces as his own in­ner tone-world, as his own in­ner crea­tive world, as his own, very origi­nal, in­ner, liv­ing world, as his mani­fold self, as his one and all.
So, ac­cord­ing to the pat­tern laid down by the mu­si­cal crea­tor, he ex­am­ines his mani­fold crea­tive talent, his true crea­tive po­ten­tial in the swing­ing rounde­lay of his in­ner quali­ties, and he real­izes that he is crea­tive.

 
The Listener Finds Himself Creative
In that moment, the crea­tive form of the great mu­sic crea­tor speaks to him not from out­side any­more but speaks within the mu­sic lis­tener him­self – as the voice of his very own con­sci­ence, as the voice of his very own crea­tive power.

 
Identification of the Listener with the One Great Music Creator of the World
So, in a very dis­creet, se­cret man­ner, the mu­sic lis­tener dis­cov­ers the mul­ti­plic­ity of life spread be­fore him in his in­ner­most ex­peri­ence.
And the traced-out pat­tern of the outer poetry of tones shows him means and ways to har­mo­ni­ously stimu­late his own in­ner life, his own mighty, in­ner hu­man forces, for play­ful ac­tion and how to keep the wheel of the joy-giv­ing in­ner knowl­edge turn­ing with the quali­ties of the mu­si­cal mean­ing.

 
Human Forces in Perfection