THE CLASSICAL COMPOSER AND MUSICOLOGIST PETER HÜBNER
on his International Project of the INTEGRATION OF SCIENCES & ARTS
 
NATURAL
MUSIC HEARING


OUVERTURE
CONVEYING TRUTH IN MUSIC


TEIL I
THE OBJECT OF GAINING KNOWLEDGE IN MUSIC


TEIL II
THE LOGIC OF THE MUSICAL FIELDS OF COGNITION


TEIL III
IMMORTAL AND MORTAL TRADITION OF MUSIC


TEIL IV
THE LIVING EXAMPLE OF THE MUSICAL COGNITION OF TRUTH


TEIL V
THE THREE GREAT STEPS OF THE MUSICAL PROCESS OF GAINING KNOWLEDGE


TEIL VI
THE SYSTEM OF INTELLECTUAL DISCUSSION IN MUSIC


TEIL VII
ERRORS IN GAINING KNOWLEDGE IN MUSIC


TEIL VIII
EQUIVOCATION


TEIL IX
THE SECRET OF MUSIC


TEIL X
THE ULTIMATE GOAL OF GAINING KNOWLEDGE IN MUSIC


TEIL XI
INDIRECT AND DIRECT GAINING KNOWLEDGE IN MUSIC


TEIL XII
THE PATH OF KNOWLEDGE AND THE GOAL OF TRUTH


Purposeful Development of Performance in the Field of our Neurophysiology


 
For the re­spon­si­ble, right­eous mu­si­cal art­ist, the per­sonal in­sight into the natu­ral re­la­tion­ship be­tween self-aware­ness, in­tel­lect, feel­ing and un­der­stand­ing, mind and neu­ro­physi­ol­ogy, is of cru­cial im­por­tance.

 
Basic Research of the Musical Artist
Even the mu­si­cian at work de­pends on the ex­cel­lent func­tion of his neu­ro­physi­ol­ogy.
But the lis­tener, too, needs an in­ner-mu­si­cal tech­nol­ogy to sys­tem­ati­cally in­crease his neu­ro­physi­ologi­cal per­form­ance – if he wants to go to the bot­tom of the mu­si­cal mean­ing.

 
The Significance of the Neurophysiology in Music
Not only is our neu­ro­physi­ol­ogy re­spon­si­ble for our outer hear­ing abil­ity, it also de­ter­mines the accuracy of the mu­si­cal rep­re­sen­ta­tion of the tones in our mind.

 
The Neurophysiology as the Key to Gaining Knowledge in Music
The av­er­age neu­ro­physi­ologi­cal func­tion­ing of an in­di­vid­ual not prac­tised in gain­ing knowl­edge in mu­sic is able to grasp only lim­ited val­ues of the mu­si­cal sound-space – only cer­tain tone se­ries, cer­tain in­ter­val steps, as well as pre­domi­nantly pe­ri­odic, rhyth­mi­cal struc­tures.

 
The Concept of Quality of the Musical Tone-Presentation in Our Mind
With the ex­cep­tion of the gen­ius, the depth of even the mu­si­cal tone-space is un­known to the av­er­age mu­sic lis­tener, to the mu­si­cian, and unfor­tu­nately also to the mu­sic teacher not prac­tised in the proc­ess of gain­ing knowl­edge in mu­sic.

 
The motif-space, but even more so the se­quence-space – let alone the space of the har­mony – remain com­pletely in­ac­ces­si­ble to the ex­peri­ence of an in­di­vid­ual un­trained in the re­fine­ment of the mu­si­cal hear­ing.

 
Our gain­ing of knowl­edge in mu­sic and our crea­tive ac­tiv­ity in mu­sic, there­fore, de­pend on a di­rect in­crease of per­form­ance in the field of our neu­ro­physi­ol­ogy, and a mod­ern sci­ence of mu­sic – if it intends to be suc­cess­ful in the clas­si­cal field of mu­sic – will have to unlock this gate to true un­der­stand­ing of mu­sic and true mu­si­cal-hu­man works by chang­ing its think­ing on clas­si­cal mu­sic.

 
Neurophysiology and Modern Musicology
The neu­ro­physi­ol­ogy in par­ticu­lar is an im­por­tant means of cog­ni­tion for the mu­si­cal crea­tor to ex­peri­ence the outer in­di­vid­ual ef­fect of his mu­sic and to judge its value for the lis­tener.
Even if the gen­ius mu­sic crea­tor, or also the mu­si­cian skilled in re­fined mu­si­cal think­ing, only thinks the mu­si­cal work on the level of his mind, then very spon­ta­ne­ously he makes the di­rect ex­peri­ence in his neu­ro­physi­ol­ogy of the ef­fect of this mu­sic on the har­mo­ni­ous func­tion­ing of his or­gans.

 
Neurophysiology as a Means of Cognition for the Music Creator
Mu­sic may in­flu­ence the or­der of the en­ergy proc­esses in our nerv­ous sys­tem.
Ample proof of this fact is given by the frenzy of de­struc­tion of young peo­ple in the wake of beat and pop con­certs.

 
The Effect of Music on the Neurophysiology
By means of clas­si­cal mu­sic, it is pos­si­ble to­day to gain com­plete, ho­lis­tic in­sight into the natu­ral re­la­tions of our in­ner hu­man worlds of cog­ni­tion and of crea­tion.

 
Fundamental Research Techniques of a Successful Modern Science of Music
Based on this in­sight, we mu­si­cians can con­ceive and for­mu­late ob­ser­va­tions, au­then­tic by sci­en­tific cri­te­ria, with a depth of ex­pres­sion that has al­ways been at the com­mand of our great clas­si­cal mu­sic crea­tors in a natu­ral way; a depth which they de­sire for their lis­tener, which they ex­pect from the mu­si­cian as well as from the mu­sic teacher.

 
The sci­ence of mu­sic will have to de­vote it­self to this in­crease in per­form­ance of the neu­ro­physi­ol­ogy.