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 Creative Craft


 
Ac­quir­ing the craft of com­po­si­tion means, first of all, en­hanc­ing the ca­pac­ity of in­ner-hu­man con­cen­tra­tion which re­sults in a clearer knowl­edge of the in­ner re­al­ity of mu­sic – un­der the loving guid­ance of the great com­poser who, from the his­to­rian’s point of view, may have lived at a com­pletely dif­fer­ent time, but is per­fectly pre­sent for his stu­dent of pow­er­ful in­tui­tion.

 
Cognition of the Musical Reality
The mu­sic stu­dent drew the in­ner strength he re­quired to ex­tri­cate the com­po­si­tion in its origi­nal per­fect struc­ture solely from his own love of mu­sic, his in­di­vid­ual love of life and from his per­sonal love of man­kind.

 
The Inner Strength of the Music Student
Once the mu­sic stu­dent knew how to free the in­ter­pre­ta­tion from its im­per­fec­tions, and once he com­pre­hended the es­sence of the mu­si­cal work in its pu­rity, he had reached the source from where mu­sic origi­nates. Here he real­ized that the great com­poser, who had be­stowed this mas­ter­piece on him, was his very per­sonal friend. And in that moment such a stu­dent en­ters a very in­ti­mate dia­logue with the crea­tive per­son­al­ity of the great com­poser of “the past.”

 
The Great Personal Friend
This is how the es­sen­tial les­sons in mu­sic were taught; this is how the se­cret sci­ence of com­pos­ing was passed on, which in the free­dom of its means kept mu­sic alive out­side the con­ven­tional mu­sic train­ing In­sti­tu­tions – as if for­eign to them – or in com­plete se­crecy within the “great” schools of mu­sic. And around this in­ner beacon light of mu­si­cal give and take of the origi­nal mu­si­cal of­fer­ing, the “smoke” of mu­si­cal bustle de­vel­oped – the mu­si­cal prac­tice of to­day.

 
The Actual Education in Music
Now we will have a closer look at this beacon light of mu­si­cal cog­ni­tion, and from its many facets we will sin­gle out those com­po­nents which are re­spon­si­ble for cre­at­ing mu­sic, and submit them to our con­scious aware­ness for a mu­si­cal-sci­en­tific in­ves­ti­ga­tion.

 
The Dawn of Music