THE CLASSICAL COMPOSER AND MUSICOLOGIST PETER HÜBNER
on his International Project of the INTEGRATION OF SCIENCES & ARTS
7. Integration of Sciences & Arts
The Scientific Core
A. MUSIC & MATHEMATICS
Germany’s most successful living classical composer and leading musicologist discusses the natural connection between music and mathematics and its significance to the integration of sciences & arts.
“Music has a more powerful potential to educate
than any other educational medium,
because harmony and rhythm
of naturally structured music
find their way
into the deepest depths of the soul
and unfold its natural beauty and dignity.”
During 1988 and 1989, the classical composer and musicologist Peter Hübner met repeatedly at the University of Tel Aviv, upon initiative of Prof. Shmueli, the head of the faculty of musicology, with the president and with heads of different faculties of the university, to discuss the ancient plan of Pythagoras which intended to integrate the sciences and arts with scientific (insight) and artistic (intuition) means.
Those gathered showed a great interest in this concept.
The plan was and is – following Pythagoras’s advice – to use musicology and/or music as the key for this integration.
„Music, which orients itself by the microcosm of music, is at least as qualified for describing nature as is mathematics because music can be depicted in mathematical form without a problem - and vice versa mathematics can be depicted in the form of music.
Pythagoras, having coined the word ‚mathematics‘ not without reason or by chance and having set the course for what mathematics should be, but isnít today, was also an experienced composer in the classical sense as well as a practicing musician and a significant musicologist and conducted research in the microcosm of music with the help of mathematics, and vice versa, conducted research in mathematics with the help of the microcosm of music; one could also say he patterned mathematics according to the occurrences in the microcosm of music and to the laws of nature effective within it and/or at its basis, and most particularly: to the harmony laws.
To him, mathematics orienting itself by the microcosm of music was the most appropriate means for developing a science that was securely guided by nature and its laws.
Moreover, music that followed the natural microcosm of music and its harmony laws was to him the most appropriate means for developing a medicine and/or education that was securely guided by nature and its laws.
knew from personal experience, from long studies in the temples of the Pharaohs of Egypt (24 years) and in the monasteries of the wise of Mesopotamia and Babylonia (12 years) as well as from his investigations that the harmony laws of the microcosm of music Ė that is the laws controlling the processes in the microcosm of music – are identical to the harmony laws that control the cosmic processes as well as biological life.
He considered the microcosm of music to be the more appropriate means for studying and understanding the cosmic processes than the gathering of such knowledge from the stars and galaxies and from the atoms.
Kepler, who by virtue of his powerful intuition, achieved a great breakthrough in the knowledge of astrophysics and thus created the basis providing Newton with his scientific approach to the aspect of gravity, gained this knowledge of the planetary laws from his research into the microcosm of music, that is, from musicology.
As was the case with Pythagoras, Kepler’s main objective was to prove that everything in the universe, the so called ‘objective reality’ as well as the so called ‘subjective reality’ is controlled by the same harmony laws that also govern the functions and processes in the microcosm of music.
Kepler paved the way for other great natural scientists who found that in their fields, too, the harmony laws as we find them in the microcosm of music practically govern all cosmic functions.
This then yields the understanding of the atomic structure, for instance, and the understanding of the relativity theory and of quantum physics.
And modern Chronomedicine
was also able to prove that within the biological sphere living organisms function according to these harmony laws.
Viewed from the aspect of modern scientific medicine this means that the right or wrong application of the harmony laws as we find them in the microcosm of music decides on whether a person becomes healthy or sick.
In the past 20 years scientists have studied with the help of Medical Resonance Therapy Music®
according to the cosmic harmony laws, to what extent music which applies the harmony laws of the microcosm of music – as this was practiced already by Pythagoras – has a medical effect. And these studies brought to light astonishing results in all investigated areas, as for instance in the field of cardiovascular research
, hormone research
, pain research
, intensive care medicine
While this was occurring, it was also found that the application of the harmony laws of the microcosm of music turned out to be a completely new kind of medication
This finally brought about the establishment of the application of the harmony laws of the microcosm of music as a new branch of scientific medicine
. (Please see the statements of well-known medical experts.)
This involves music as an information carrier serving the purpose of transmitting to the neurophysiology and/or to the mind and/or to the awareness of the user how the microcosm of music functions in a harmonious manner.
As one can glean from the information on Pythagoras passed down through history, the current integrated creative and musicological application of the harmony laws of the microcosm of music by the classical composer and musicologist Peter Hübner corresponds exactly to what Pythagoras had practiced already 2500 years before to effect great improvements in the inner quality of life in his students.
These days, however – in the age of most spread ignorance about the secret science of music in the history of music, even reaching to the world of science – the field of music is afflicted with so much ignorance that one is better off using mathematics for the integration of sciences and arts:
‘I must despise a world
which has no idea
that music is a greater revelation
than all wisdom and philosophy.’
but original mathematics – as Pythagoras used it – which still is guided completely by the harmony laws of the microcosm of music.
Of course being guided by those harmony laws controlling the physical-cosmic processes, or by the harmony laws controlling the processes of biological life, or by the harmony laws controlling the processes in the field of quantum physics would possibly yield the same results, but according to the statements of Pythagoras the microcosm of music is best of all suited for this kind of insight.
It will be quite a lot of work for the mathematicians to explore the microcosm of music and to determine the harmony laws controlling it.
Consequently it will be an additional piece of work for these mathematicians to transfer the knowledge they found here to present-day mathematics and to align the current mathematics to the exact cosmic functions and processes with these new insights and correct the current mathematics.
The fact that current mathematics does not fundamentally orient itself by nature – although mathematics is officially counted among the natural sciences – becomes already clear by the substantial share mathematics has in that disastrous state in which the world it influences finds itself today and which we find all around.
This correction of current mathematics by applying the harmony laws of the microcosm of music, or of creation, or of biological life in mathematics will, among other things, contribute to making the necessary corrections in all technologies influenced by mathematics, be they in the field of matter or in the field of biology, and will lastingly counteract the further destruction of the world by the sciences and technologies governed by mathematics.
But also independent of the present-day world situation I can see that in some essential aspects current mathematics are fundamentally wrong but this will be brought to light in detail during these investigations and developments anyway.
But this will then also require a goodly amount of exercise aimed at adjusting the limited thinking to the cosmic function of the harmony laws – a verbal explanation would be of no use here because it would not really contribute to a real understanding of it.
‘On the way of discovery
the intellect has little to do.
There is a leap in consciousness,
call it intuition or whatever you like,
and the solution comes to you,
and you do not know how and why.’
‘What really counts is intuition.’
For the same reason people today cannot experience the theory of relativity using current mathematics.
‘Who is not able,
to explain it to a six years old child
has not understood it himself.’
The objective scientific research studies by leading universities and medical research institutes in many parts of the world – and lets’ not forget the selfless dedication by forward looking, leading medical experts
– have proven that in the medical field these aforementioned corrections do their job.
And even with the little insight provided by the first three (of 21) states of consciousness any somewhat reasonably thinking scientist can imagine what would happen if the stars and planets oriented themselves within their orbits by the harmony laws in the same negligent way today’s responsible citizen believes himself able to do this – and then nature, as significant proof for his failure, bestows disease on him.
The objective therefore is to create in all fields of life a natural unity of harmony in people’s awareness and above that in their thinking and in the neurophysiological processes connected to it as well as in their behaviour towards themselves and towards their environment; by the help of the harmony laws of the microcosm of music – there they can be studied most easily – via a music that is guided by it and via musicology and, affiliated to it, via mathematics.
That is the practical purpose of integrating the sciences and arts.
I would like to explain this by an example:
In my youth I developed three notations for the depiction of music and reported about it on the congress for experimental music
, organized by the Technical University of Berlin in the framework of the Berlin Festival Weeks.
It had to do with depicting the content of music in graphical form and/or in the form of sound.
The first performance of this work, Energy 1, took place in the Audimax of the Technical University, where I presented to the music experts gathered there from all over the world three completely different notations of the music ringing out.
On the one hand it was a graphical depiction of this music in the way a so-called ‘Oszillomat’ would print it out after the music had been read in to it – a scientific and technical apparatus which was available for phonetic institutes at that time.
This I called the ‚Sonagramm Method
For the listener it was very easy to recognise the connection between the graphical depiction and what they heard, that is, to ‘read along’ – even if the listener was simple and musically uneducated, that is, even for a child.
The second depiction, which I called ‚Tabular Method
‘ is a more or less complex series of figures depicting the sound, in the course of time, in numbers and only in numbers.
For a third depiction I had developed a formulaic method which, in connection with logical applications, turned these many numbers into formulas.
I called it the ‚Formula Method
‘ for the depiction of music – as something similar is known in mathematics too.
And an additional depiction had to do with connecting orchestra music, written as a score of notes, to electronic music, which only used numbers and special symbols that put the numbers into a context.
So that was about the fundamentals for the future performance practice of modern music in opera or in concert, as far as the integration of orchestra and electronic music was concerned.
Hereby one can easily see that it is possible, without problem, to transfer music to the language of mathematics and vice versa.
‚What is the purpose of something like that?‘
‚Is it really necessary?‘ many a mathematician may ask.
‚Can’t one do without this beyond the music scene?‘
The question will answer itself in a moment:
When we create/structure music according to the harmony laws of the microcosm of music and let it sound out – as we know this from the great classical composers – every child will hear every wrong note very spontaneously; the child must not even know the work or have heard it even once, but this knowledge of what is right and wrong in the sense of the harmony laws of the microcosm of music was given to him by nature; it is innate.
So if I write a symphony of one hour structured according to the harmony laws, which counts maybe 500.000 tones, and I make only one single mistake here, just one tone that I don’t bring in line with the harmony laws, any child can immediately and very spontaneously recognize which one is the ‘wrong’ tone and that a correction has to be made here.
If I were to use the means of current mathematics for depicting this music, that is, numbers and symbols on paper or on a blackboard or on a computer screen or wherever, then perhaps only someone truly experienced and well versed in the new mathematics might possibly be able to find the mistake – if he were to look for it. But least of all he would spontaneously sense it as a disruption practically attacking him personally – the way it happens to the aforementioned child.
So when we have this new mathematics that orients itself by the harmony laws of the microcosm of music, or of creation, or of biological life and convert it by technical means into music, any child would immediately hear where this mathematics is not oriented by the harmony laws.
In this way the child would hear any mathematical error without having studied either mathematics or music and that down to the little baby, and even beyond to the unborn child.
What modern science has overlooked so far in general is finding a possibility of presenting itself in such a way that every child can recognize spontaneously and in a natural way where science is correct in its details and where it is not, that is where it is natural and where it is unnatural: where, in real terms it is not orientated by nature and its laws.
If we applied this new mathematics to the different scientific disciplines, as we have done already with musicology in regard to this mathematics, and if we also converted the mathematical depictions of these other sciences into music, then all children of the world would be able to verify spontaneously and faultlessly and unambiguously and without any study of any science where the respective science is correct and where it is not correct.
This way even children would be able to reliably distinguish between what is correct and what is not correct and to choose accordingly. Because this knowledge about the inner cosmic relations is an innate ability to them.
It is therefore the natural task of the musicologists and mathematicians and the experts of the other sciences to create the scientific-technical conditions for the described educational situation.
The objective medical investigations done so far also prove that the sciences which were authentically recognized by the children as correct promote health, and those sciences which were authentically recognized by the children as incorrect promote diseases.
Now it would be your natural task to make this described scientific potential for the good of education and health public.
The first part of the programmes for training the mind to think in a natural cosmic way by applying the cosmic harmony laws is completed, and of course we are working on expanding the programmes.
When the scientists set to work on creating this aforementioned new mathematics, they will need these programmes because what a person cannot think he or she can also not create.
And thinking can be learned, even natural and/or cosmic thinking. The latter is even necessary for progress. Therefore the key to any progress in the development of this undertaking lies in the specific and systematic training of the researchers and developers in cosmic, authentic natural thinking.
Our inner ear is the optimal key given to us by nature for our progress in natural thinking and opens for us, under the guidance of the harmony laws of nature, the doors to natural knowledge.
They may all forget about the race for the world formula as long as they don’t follow this path. And the project in Geneva is pouring money down the drain as far as knowledge without conscience is concerned. Something like this can only serve narrow-minded researchers in their narrow ambitions and their need for recognition and increase their income – but that is not the way to gain fundamental knowledge about nature and to serve the good of mankind.
Today, however, we have the scientific and technical requirements to successfully accomplish what Pythagoras had intended: the integration of sciences & arts based on the aforementioned means of authentic cosmic cognition – completely beyond the knowledge that is already running on empty because of its rotten fruits and the problems of the world miscalculated by them.“
“On the way of discovery
the intellect has little to do.
There is a leap in consciousness,
call it intuition or whatever you like,
and the solution comes to you,
and you do not know how and why.”
“What really counts is intuition.”
“Who wants to partake of the revelation of truth,
should grasp nothing through understanding,
but should experience inside
and come into a specific psychological state –
provided he is capable of it.”