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 Path of the Human Character
in the Musical Form


 
In the melody, the motif ex­pres­ses through its changes and dis­guises the course of de­vel­op­ment of the hu­man char­ac­ter in a mani­fold mu­si­cal form.
In clas­si­cal com­po­si­tion, the melody logi­cally rep­re­sents the rea­son­able in­ner proc­ess of de­vel­op­ment of the in­di­vid­ual, and it is the lively de­scrip­tion of the de­vel­op­ment of his char­ac­ter.

 
The Inner Logic of the Melody
Dur­ing the ex­pan­sion of the motif, i.e. dur­ing the struc­tur­ing of the melody, an in­terlacing of motif trans­for­ma­tions takes place to the ex­tent that the parts, the in­di­vid­ual motif-faces, the in­di­vid­ual quali­ties of the char­ac­ter, be­come less prominent, and the in­te­grated whole­ness of the com­pre­hen­sive pic­ture of the hu­man char­ac­ter, in the form of the melody, be­comes more prominent in the mu­si­cal event.

 
The Integrated Wholeness of the Human Forces in the Musical Performance
Con­trary to con­ven­tional notion, it is not the pur­pose of the melody to de­scribe some­thing par­ticu­larly pleas­ant.

 
The Task of the Melody
The melody de­scribes the truth of the for­ma­tion of char­ac­ter.

 
There­fore, it is not at all “sweet” as we know it in ex­ag­ger­ated form from the en­ter­tain­ment mu­sic.

 
In clas­si­cal mu­sic, it was never the pur­pose of the melody to flatly lull some­one, or to inebriate him, but it was meant to lead the lis­tener, by way of its in­ner un­fold­ment, di­rectly to the cog­ni­tion of more com­pre­hen­sive hu­man val­ues – thereby to greater per­sonal in­ner pu­rity, to greater per­sonal in­ner beauty, to greater per­sonal in­ner power.

 
Just as a man, at dif­fer­ent times, al­lows one of his mani­fold char­ac­ter­is­tics to domi­nate (his fel­lowmen would say he is al­ways chang­ing, show­ing a dif­fer­ent face), like­wise the motif pre­sents it­self in its vari­ous trans­for­ma­tions and thus ap­pears as the melody in the mu­si­cal proc­ess.
Owing to the im­pulse of the crea­tive power within the melody, the in­ner-hu­man quali­ties rush out­wards into the world of the sound-space, and bring about the chang­ing mu­si­cal pic­ture of the act­ing traits of char­ac­ter of in­di­vid­uals, of hu­man be­ings, of the world.

 
The Impulse of the Creative Power in the Melody