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 Universe of Musical Sound-Space


 
Due to the cur­rent prac­tice of play­ing and per­form­ing, such a three-di­men­sional, spa­tial im­pres­sion of the uni­verse of mu­sic in its subtle vi­bra­tion can­not arise within the lis­tener, be­cause to­day’s mu­sic ex­perts them­selves have this in­ner crea­tive hear­ing only in frag­ments.
How­ever, it is this lively, in­ner mu­si­cal vi­bra­tion in the fusion of space and time which pri­mar­ily con­sti­tutes the true world of mu­sic.

 
Gaps in the Creative Hearing
If, due to a nar­row and tech­no­cratic mu­si­cal edu­ca­tion, such a world of sound-spaces in pow­er­ful motion is not made ac­ces­si­ble to the lis­tener, mu­sic is not pre­sented prop­erly; the com­poser’s in­ner, for­ma­tive power is wasted; the “in­ter­pre­ta­tion” has failed; any in­stru­men­tal or tech­ni­cal effort is of no avail.

 
Narrow Technocratic Musical Education
At around the turn of the cen­tury, even the com­pos­ers lost the crea­tive knowl­edge of the in­ner, men­tal mu­sic-form­ing proc­ess: as a non-mu­si­cal substitute the in­tel­lec­tual con­cept of twelve-tone com­po­si­tion was in­tro­duced, later on fol­lowed by the serial com­pos­ing tech­nique – which was quite in­ter­est­ing ar­ith­meti­cally, but com­pletely unlively as a con­cept for writ­ing mu­sic – as if there was no in­ner hear­ing at all.

 
The Loss of Creative Hearing
Thus, mu­sic was de­prived of its in­ner spark of life and con­se­quently could not be suc­cess­ful (as the era of “con­tem­po­rary mu­sic” – the avantgarde – bears au­di­ble wit­ness).
A mar­ginal phe­nome­non of this loss of the in­ner di­men­sion of crea­tive hear­ing is the pop, punk, and beat scene – the hapless call of the youth for the lost mu­sic.

 
The Call for the Lost Music