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


Structural Musical Analysis of Values


 
In our proc­ess of gain­ing knowl­edge in mu­sic, a sys­tem­atic eval­ua­tion iden­ti­fies dif­fer­ent stages of cog­ni­tion.

 
The First Stage of Cognition during Listening
By means of the physi­ol­ogy of our ear we per­ceive the tone which reverberates in the acous­tic space, and this is our first step to­wards knowl­edge.
Now one can eas­ily doubt the cor­rect or com­plete per­cep­tion of our or­gan of hear­ing.

 
The com­plete­ness of our per­cep­tion can be veri­fied by ex­amin­ing the tone, which reverberates in the acous­tic space, with our hear­ing and with meas­ur­ing in­stru­ments si­mul­ta­ne­ously, and by com­par­ing the re­sults of the in­stru­ments with the re­sults of our hear­ing. Natu­rally, in this case only that as­pect of the tone is be­ing ex­am­ined that can be meas­ured physi­cally-struc­tur­ally.

 
In our analy­sis we mu­sic lovers go a few steps fur­ther – be­cause we hear mu­sic, and not just a sin­gle tone – and ex­am­ine the in­ner shape of the tone by means of our fac­ulty of logic.
By means of our un­der­stand­ing, we ex­am­ine the struc­tural changes of the tone, and by means of our feel­ing we ex­am­ine the in­ner na­ture of these struc­tural changes.

 
Integrated Structural Analysis of Music
If our cog­niz­ing un­der­stand­ing finds that the struc­tural changes of the sound are not really har­mo­ni­ous, but rather in steps or pe­ri­odi­cal, then we infer the absence of a liv­ing soul – of a liv­ing mu­si­cal for­ma­tive force in a tone – or a lack of life in the mu­si­cal state­ment, and we miss the mu­si­cal mean­ing.
Our in­tel­lect, there­fore, re­lates the mean­ing of that kind of sound – in ref­er­ence to its struc­ture – to the ma­te­rial world, i.e. to our physi­ol­ogy.

 
Perceiving the Enlivened and Unenlivened Nature in Music
This is where the ori­gin of schematic dance is lo­cated.
The lis­tener be­gins to move his body to the ma­te­rial struc­ture of the tone – he taps the beat, for ex­ample, with his foot or with other parts of his body, or he be­gins to dance by rote to the sim­ple pat­terns of the mu­sic.

 
The Origin of Schematic Dance
The cause of these physi­cal kinetic im­pulses we find hid­den in the atomic or mo­lecu­lar struc­ture of the mu­si­cal sound-space.
And this lim­ited kind of tonal-struc­tural move­ment finds its equiva­lent in man, in our physi­ol­ogy.

 
Musical Basis of the Physical Kinetic Impulses of the Listener
Thus, in a com­pletely natu­ral man­ner, we lis­ten­ers react physio­logi­cally with mechanistic move­ments to that which, by its very struc­ture, con­cerns our physi­ol­ogy.

 
From the re­sound­ing event our feel­ing gathers its dy­namic im­pulse, and trans­forms its stepwise struc­ture into the im­pulse of our physio­logi­cal mo­tions.
At the same time, on the basis of the tonal struc­ture, our un­der­stand­ing de­ter­mines the kind of our mo­tions.

 
Manipulating the Physiological Structure of Movement
If mu­sic, then, is struc­tured in such a way that its ele­ments, the tones, appear to our ana­lyz­ing in­tel­lect in steps and in pe­ri­odi­cal seg­ments, then it is suited for schematic dance mu­sic, and in­deed, it even forces us into the world of primi­tive danc­ing motion.

 
The Unenlivened World of Music Seizes Control over the Listener
And it de­pends on the sim­plic­ity or com­plex­ity of the pe­ri­odi­cal or­ders or steps within the sub­tler tone pat­terns, whether the dance will appear clumsy or grace­ful.