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


The Function of the Fields
of Cognition in Music


 
How then is the ob­ject of cog­ni­tion com­pre­hended in the re­spec­tive mu­si­cal force-field?

 
With our sense of hear­ing we com­pre­hend the physi­cal struc­ture of the tone, its in­ner me­chan­ics, its struc­tural change and its func­tion­ing in space and time.
We com­pre­hend the tone on the level of our mind; its struc­ture is rep­re­sented there in the same way as it ap­pears al­ready in the acous­tic space, where we per­ceive it with our outer or­gan of hear­ing (as far as our outer hear­ing is func­tion­ing, as far as our neu­ro­physi­ol­ogy is able to trans­mit the in­for­ma­tion, and as far as our mind as such is able to func­tion).

 
Analyzing the Physical Structure of the Sound
One must take into ac­count that, dur­ing the proc­ess of cre­at­ing a typi­cally clas­si­cal mu­si­cal work, the mu­sic and eve­ry sin­gle tone of it arose within the com­poser, in his in­ner space of imagi­na­tion, only af­ter his mind was stimu­lated as the ab­so­lu­te sound-sub­stance.
This per­fect stimu­la­tion guar­an­teed and guar­an­tees the unity of the com­po­si­tion.

 
The Unity of the Composition
In the mu­si­cal crea­tor eve­ry tone of his mu­si­cal work arises from this level of the ab­so­lu­te tone-sub­stance, and this means prac­ti­cally that, as the com­po­si­tion is cre­ated, all tones are di­rectly re­lated to each other in the ab­so­lu­te Now, be­yond space and time.
In the dy­namic proc­ess of cre­at­ing mu­sic the prime vi­bra­tion of the ab­so­lu­te sound-sub­stance in his mind guar­an­tees the com­poser the re­al­ity of this ab­so­lu­te Now the ab­so­lu­te simultaneity, the per­fect cor­re­la­tion of all mu­si­cal pa­rame­ters with­out any sepa­rat­ing link of space and time.

 
The Elemental Vibration of the Absolute Tone-Substance
Also, it is this in­te­grated field of per­fect mu­si­cal re­la­tion­ship where the lis­tener later lo­cal­izes the world of har­mony.

 
The Integrated Field of Perfect Musical Relations
When the sounds emerge from the ab­so­lu­te sound-sub­stance and ad­vance to­wards the in­te­grated re­la­tion of space and time, then the mu­si­cal force-fields of the se­quences are cre­ated which are firmly es­tab­lished be­yond space and time in the har­mony but which, at the same time, un­fold in an in­te­grated space-time re­la­tion­ship in the space and time of mu­si­cal evo­lu­tion.

 
Musical Sequences within and without Space and Time
Thus, in the mu­si­cal com­po­si­tion the se­quences have a me­diating po­si­tion be­tween the in­fi­nite har­mony flow­ing in the ab­so­lu­te Now, and the mo­tifs mov­ing in the field of space and time.
And un­tir­ingly, the se­quences carry the quali­ties of the ab­so­lu­te Now into the mu­si­cal world of the past, pre­sent, and fu­ture. So, through their chil­dren, the mo­tifs, they un­fold from the ab­so­lu­te level of the har­mony the sphe­res of re­sound­ing mu­sic in the mu­si­cal tone-space.

 
The Integrating Function of the Musical Sequences
For the tonal com­pre­hen­sion of the mu­si­cal work it is very im­por­tant that the vi­bra­tion of the ab­so­lu­te tone-sub­stance is lo­cal­ized in the mu­si­cal work by the lis­tener.
This proc­ess of per­cep­tion is sup­ported by the fact that the mu­si­cian al­ready raises the sound­ing mu­si­cal work di­rectly from this cos­mic vi­bra­tion.
Only the cog­ni­tion of the ab­so­lu­te tone-sub­stance al­lows us lis­ten­ers the per­sonal in­sight into the in­ner mu­si­cal fields of knowl­edge.

 
The Listener Localizes the Absolute Tone-Substance
Per­ceiv­ing the ab­so­lu­te sound-sub­stance on the level of the mind is the golden magic key of gain­ing knowl­edge not only for the com­poser, but for us mu­sic lis­ten­ers as well.
And hav­ing made the ex­peri­ence of the ab­so­lu­te tone-sub­stance, one knows that this key is of a very prac­ti­cal, quasi tech­ni­cal kind.

 
The Golden Magic Key for Gaining Knowledge in Music
The cog­ni­tion of the ab­so­lu­te sound-sub­stance, i.e. the iden­ti­fi­ca­tion of the in­di­vid­ual mind with the com­pre­hen­sive ba­sic vi­bra­tion of the har­mony, or with the ba­sic vi­bra­tion of cos­mic think­ing re­spec­tively, en­ables our mind to ana­lyze and synthesize in an in­te­grated man­ner to un­der­stand and to feel in an in­te­grated man­ner and thus to ex­peri­ence and to com­pre­hend si­mul­ta­ne­ously the in­ner mu­si­cal fields of knowl­edge of the mo­tifs and se­quences, but also of tones and of the in­fi­nite field of the har­mony within space and time, as well as be­yond space and time.

 
The Listener Identifies Himself with the Absolute Sound-Substance