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 Path of Knowledge
and the Goal of Truth


 
If true clas­si­cal mu­sic is pre­sented by crea­tive per­for­mers, then, as op­posed to the sci­en­tific sys­tem of phi­loso­phy, it is able to turn man into an em­bodi­ment of truth, into a truly wise man, into a free man.

 
The Ideal of the Embodiment of Truth
Mu­sic vividly dem­on­strates to the seeker of truth the po­ten­tial of know­ing truth, and places him through the knowl­edge of truth into the state of em­bodi­ment of truth – for a short time at first, and then for longer and longer pe­ri­ods.
Thus, it guides him by vir­tue of the mu­si­cal logic into the world of ex­peri­ence of the wise who li­ves truth.

 
Temporary Knowledge of Truth
Like that, mu­sic conveys the ex­peri­ence of all the ad­van­tages which re­sult from know­ing truth, and the clas­si­cal art of sound brings about, among oth­ers, the ex­peri­ence of per­fect in­ner­most joy of life, the ex­peri­ence of unre­stricted ac­cep­tance of life, and the to­tal mu­si­cal ex­peri­ence of com­pre­hen­sive in­sight into the true func­tion­ing of na­ture.
Be­yond that, mu­sic even conveys the ex­peri­ence of the al­mighty crea­tive power.

 
Personal Experience of the Goals of Knowledge in Music
In the last millenia, owing to its na­ture, its cate­gori­cal treat­ment of mean­ings, the con­ven­tional sci­en­tific sys­tem of phi­loso­phiz­ing by word and by let­ter was able to vaguely de­scribe to man only the cog­ni­tive path of the in­tel­lect, a fact from which con­se­quently arose the mul­ti­tude of ideo­logi­cal, phi­loso­phi­cal, reli­gious, and po­liti­cal sys­tems, and from which ever new mul­ti­tudes appear.

 
The Origin of Philosophical Multiplicity
How­ever, the natu­ral unity un­derly­ing such di­ver­sity can­not be com­pre­hended by means of ei­ther con­ven­tional writ­ing or by words as they are used to­day.
For nei­ther the spo­ken nor the printed word are able to stimu­late and awaken the feel­ing in com­plete­ness.

 
Loss of the Philosophical Cognition of Unity
Yet all the great phi­loso­phers aspire unity in their con­cep­tion of the world and absurdly, so long as they op­er­ated on the mean­ing of words to cir­cum­scribe their thought, they chose the in­tel­lec­tual dis­cus­sion in word and in writ­ing – the me­dium least suited for the cog­ni­tion of unity.

 
Philosophical Aspiration and Philosophical Ability
Pro­ceed­ing from the mean­ing of the word, the great poets take into ac­count the sound of the word much more than do the phi­loso­phers who op­er­ate on the mean­ing alone, and by this they come much closer to the emo­tional gain­ing knowl­edge than the phi­loso­phers.

 
The Poetical Means for the Cognition of Truth
For the sound, the rhyth­mi­cal struc­ture and the me­lo­di­ous de­vel­op­ment of the word are suited by na­ture to ap­peal to the feel­ing – in the flow of time, i.e. as a dy­namic proc­ess.

 
The Dynamic Power of the Sound of Words
Un­for­tu­nately, the mean­ing of a word is not able to di­rectly stimu­late the feel­ing in con­tem­po­rary man, and cer­tainly not in man of the last millenia be­cause, sim­ply physi­cally, it lacks the dy­namic power.

 
Scientifically Systematizing Multiplicity
So, in its proc­ess of gain­ing knowl­edge, the con­ven­tional sys­tem of sci­en­tific phi­loso­phy rests al­most ex­clu­sively on the in­tel­lec­tual abil­ity of dis­crimi­na­tion of the un­der­stand­ing, and there­fore, as a sys­tem, it leads es­sen­tially to­wards di­ver­sity but never to­wards unity. Here, mu­sic si­mul­ta­ne­ously takes a two­fold path:

 
Like the con­ven­tional sci­en­tific sys­tem of phi­loso­phy, mu­sic de­scribes in its vari­ous mu­si­cal force-fields the dif­fer­en­tia­tion of the forms and phe­no­mena of na­ture – the ob­jec­tive ones in the mu­si­cal sound-space, the sub­jec­tive ones in the motif-space, the so­cial ones in the se­quence-space – and the in­te­grated whole­ness of all dif­fer­en­ti­ated phe­no­mena in the in­fi­nite space of the har­mony.

 
The Differentiated Path of Musical Communication of Truth
Si­mul­ta­ne­ously, how­ever, with its dif­fer­en­ti­ated way of de­scrib­ing the facts, mu­sic pre­sents a con­sis­tent, dy­namic proc­ess in which those facts are cre­ated, changed, re-formed again and again, and fi­nally brought to decay – on all lev­els of the mu­si­cal de­scrip­tion.

 
The Integrated Path of Musical Communication of Truth