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 Melody


 
The se­quence is the in­ner breath of the mo­tifs and, there­fore, the in­ner breath of the melody as well.

 
The Inner Breath of the Motifs
The se­quence is that force which, from within, sus­tains the as­pects of the motif in their di­ver­sity as the melody. When the motif ele­ments of the melody tend to fall apart – which would disrupt the de­scrip­tion of the motif’s life – the se­quence unites the waves of mu­sic even stronger.

 
The Sustaining Force in the Musical Unfoldment of the Motif
As the motif sets out on its in­di­vid­ual path of life, it ex­pands into the melody, and this is due to the natu­ral for­ma­tive power of the se­quence which per­me­ates it from within with the har­mo­niz­ing quali­ties of joy.

 
The Growth of the Melody
The com­po­si­tional rules ac­cord­ing to which the se­quence guides the motif on its life-path in the melody are called the “se­quence-tech­nique.”

 
Sequence-Technique
To the lis­tener the melody is his per­sonal jour­ney through the worlds of the mo­tifs; and the melody ap­pears to him as a more com­pre­hen­sive form of the motif, as the more mani­fold ex­pres­sion of the motif.

 
The Personal Journey of the Musical Listener
The melody, by na­ture, is not a sum of mo­tifs, rather it has grown en­tirely from a sin­gle motif, just as a tree grows from a sin­gle seed.

 
The Growth of the Motif
A sum of mo­tifs, there­fore, does not yet con­sti­tute a natu­rally grown melody but is com­pa­ra­ble to a tree that has been ar­ti­fi­cially as­sem­bled.

 
The Whole of the Mel­ody is more than the Sum of the Parts of the Motifs