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 Musical Career


 
The mu­si­cal career truly be­gins where mu­sic be­gins. He who really de­sires to cre­ate mu­sic, must know how and from where it origi­nates.

 
The Basis of Studying Music
It may sound absurd but even the larg­est part of what is termed “clas­si­cal mu­sic” to­day is be­ing pro­duced with­out fun­da­men­tal ex­per­tise, be­cause the of­fi­cial mu­sictrain­ing In­sti­tu­tions are lack­ing a sys­tem to sci­en­tifi­cally in­ves­ti­gate, or even teach, the ori­gin of mu­sic.

 
Fundamental Expertise
In In­sti­tu­tionalized mu­sic edu­ca­tion the ori­gin of mu­sic is as­sumed to be where the proc­ess of the ac­tual crea­tion of mu­sic has al­ready ended.
By quot­ing the great com­pos­ers of all times, the bi­og­ra­phies con­firm that not one of them learned com­pos­ing from out­side, from any In­sti­tu­tion. In fact, they even were often ex­cluded from of­fi­cial stud­ies be­cause of their con­tempt for the purely su­per­fi­cial stan­dards of mu­si­cal train­ing.

 
The Testimony of the Great Musical Artists
There­fore, the great mu­si­cal poets of man­kind passed the love of mu­sic and the tech­nique of com­pos­ing qui­etly and di­rectly on to each other – with­out the teach­ing In­sti­tu­tion as a me­dia­tor.

 
The Great Musical Poets as Free and Independent Teachers
Un­der­standa­bly there­fore, the pure sci­ence of mu­sic was a se­cret sci­ence in which only very few were ac­com­plished – the great com­pos­ers them­selves.
Birth seemed to de­ter­mine who was to be their dis­ci­ple, and who was to pass on the knowl­edge of cre­at­ing mu­sic, with the means of his time, to his own gen­era­tion.

 
The Secret Science
At one time or an­other in his life, maybe un­der the im­pres­sion of a very poor pres­en­ta­tion of a great com­po­si­tion, such a young man would, within his mind, free the mas­ter­piece from the de­fi­cien­cies of the in­ter­pre­ta­tion, and then ex­peri­ence his own per­fect per­form­ance.

 
The Perfect Personal Performance
Such a men­tal re­vi­sion meant de­let­ing the as­pect of in­ter­pre­ta­tion, and re­al­iz­ing the very sub­stance of the com­po­si­tion.

 
The Creative Substance
In this man­ner, af­ter some prac­tice, the se­cret tal­ented stu­dent had ac­quired the skill of com­pos­ing from the great mu­si­cal poet, and the foun­da­tion for his own mu­si­cal-crea­tive task was laid.

 
The Secret Student