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 Technology of Human Forces


 
The field of teach­ing clas­si­cal com­po­si­tion is not the field of mu­sic but rather the tech­nique of skil­fully han­dling the in­ner-hu­man world of feel­ing and think­ing: in the art of turn­ing, within our­selves and within oth­ers, wrath into joy and de­pres­sion into hap­pi­ness.

 
Music Beyond the Musical Sound-Space...
Origi­nal clas­si­cal mu­sic de­scribes the play­ful mas­tery over the battlefield of our in­ner-hu­man forces at the height of di­vine ac­com­plish­ment. By demonstrat­ing to us lis­ten­ers the skilled, ethi­cally pure han­dling of the pow­ers lively within us, it in­spires us to un­fold our own char­ac­ter to­wards natu­ral joy of life.

 
Original Classical Music
No other me­dium can de­fine an in­ner-hu­man qual­ity so clearly as a mu­si­cal motif, be­cause the mu­si­cal motif en­com­passes our world of feel­ing and un­der­stand­ing, and is ca­pa­ble of enli­ven­ing space and time in an in­te­grated man­ner.

 
The Playful Mastery over the Inner-Human Forces
Here mu­sic proves to be the ap­pro­pri­ate, un­equalled, men­tal nour­ish­ment for the ob­jec­tive un­der­stand­ing of our hu­man quali­ties, but also as a lively tool to in­di­vidu­ally gain mas­tery over our in­ner world of feel­ing and un­der­stand­ing.

 
Music as a Force of Nourishment
In the analy­sis of mo­tifs as well as of the motif-tech­nique, the con­ven­tion­ally trained mu­sic analyst wants to un­der­stand tones only by quan­tity, by meas­ur­ing their outer “weight” – just as if a bi­olo­gist would only weigh the bones of a liv­ing man, even though the weight of our bones con­tains only lit­tle in­for­ma­tion about our prac­ti­cal life.

 
Conventional Technology
In gen­eral, the new sci­en­tific meth­ods of re­search de­fine the crea­tive cri­te­ria of a dis­ci­pline far more pre­cise. There­fore the lis­tener of to­day is no longer con­tent with only an out­ward ap­proach to an ac­tu­ally in­ner sub­ject matter, and thus de­mands an ade­quate in­ner vi­sion from the mu­sic analyst.

 
New Discoveries
By con­cept, mu­sic analy­sis then is no longer only an outer study but, first of all, the sys­tem­atic in­ves­ti­ga­tion into the field of our in­ner-hu­man knowl­edge.

 
The Field of Human Cognition