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


Analysis of the Process of
Creating Music


 
The think­ing proc­ess may well be com­pared to the growth of a tree. Be­cause, once the com­poser per­ceives a per­fect, fun­da­men­tal mu­si­cal idea in his mind on the level of the har­mony – like the in­ner struc­ture of a seed – he cre­ates, from the level of this pure, utmost con­densed cog­ni­tion, the liv­ing tree of his mu­si­cal com­po­si­tion, right to its leaves and blos­soms, in a lively con­tin­uum of thought.

 
The Concentrated Flow of Creativity in Music
And with great self-dis­ci­pline he will ensure that the natu­ral, con­cen­trated flow of his crea­tiv­ity is not in­ter­rupted; oth­er­wise the com­po­si­tion would im­me­di­ately dis­in­te­grate – just as a tree be­gins to dry up from the very moment its sup­ply of nour­ish­ment is cut off.

 
The term “to com­pose” lit­er­ally means the outer as­sem­bling of ele­ments to form an os­ten­si­ble whole, which in­deed con­tra­dicts the re­al­ity of crea­tiv­ity.

 
The Expression “To Compose”
From within the unity of his in­ner, lively cog­ni­tion, the true mu­si­cal art­ist cre­ates the enli­vened di­ver­sity of his mu­si­cal state­ment.

 
The Creative Process from Within Unity
Look­ing at it more closely, the com­plete truth of how mu­sic origi­nates within the mu­si­cal poet ap­pears much more com­pre­hen­sive than as­sumed so far, and the melody is not the first ele­ment to origi­nate in his mind but in­deed the very last.

 
So far, the end of the in­ner mu­si­cal act was thought to be the be­gin­ning of cre­at­ing mu­sic.
And to the parts of an un­known whole, which were barely heard in the in­ner ear, some ac­cepted, com­po­si­tional struc­ture was “at­tached,” which then had to simu­late the im­pres­sion of whole­ness.

 
Beginning and End of the Musical Act