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 Firmament of Music


 
Here, dur­ing his in­ner proc­ess of crea­tion, the mu­si­cal poet moves the constellations of liv­ing mu­sic which, ac­cord­ing to the in­ner laws of hu­man evo­lu­tion, struc­ture the ob­jec­tive sphere of the mu­si­cal sound-space within his mind; and with the re­spon­si­bil­ity of an art­ist he cre­ates a har­mo­niz­ing in­flu­ence on his sur­round­ings.

 
The Inner Laws of Creating Music
This proc­ess of the genesis of mu­sic takes place within each mu­si­cian, whether he is aware of it or not, and whether he per­ceives it in de­tail or not. But, due to this fact, he car­ries a very per­sonal re­spon­si­bil­ity to­wards his au­di­ence.

 
As the mu­sic is cre­ated, the in­ner ear is only the outer agent of the mu­si­cal art­ist to con­trol the mu­si­cal re­sult, de­liv­ered to him by his mind in the form of his mu­si­cal thought. This in­ner ear is di­rectly con­trolled by his in­tel­lect which reigns the sense of hear­ing three­fold: with the un­der­stand­ing, with the feel­ing, and with the in­te­gra­tion of feel­ing and un­der­stand­ing – with the quali­ties of si­lence.

 
The Inner Ear
The in­ner proc­ess of hu­man think­ing, to­gether with the or­ga­niz­ing and har­mo­niz­ing in­flu­ence of feel­ing and un­der­stand­ing, is the true mecha­nism of com­pos­ing.

 
The True Process of Composing
The in­ner sense of hear­ing makes the self of the mu­si­cal crea­tor the first lis­tener of his com­po­si­tion. Yet, it is also this self which, for it­self and for all other selfs, gen­er­ates the mu­si­cal thought in his mind – purely from its own in­ner joy, from its own in­ner play­ful­ness, and from its own af­fec­tion for the many other selfs – but also from the in­tui­tive knowl­edge that all the selfs of the world to­gether, form one big fam­ily, and that, as mem­ber of this uni­ver­sal fam­ily, they are but the blessed parts of that one great fa­ther of the fam­ily, em­bod­ied in the har­mony.

 
The Father of the Musical Thought
Here, mu­sic is the monologue of the self of a mu­si­cal crea­tor, and only be­yond his think­ing his mu­sic then is a mes­sage to the other selfs about his monologue. To his lis­ten­ers as well as to him­self, the mu­si­cian, in this monologue, re­veals the ab­so­lu­te, true re­la­tion­ship of all the selfs in the world, and thereby gen­er­ates a feel­ing of love in all the selfs. Within all the other selfs, he awak­ens the de­sire to come to­gether and be­come united in the one uni­ver­sal Self.

 
The Cosmic Monologue