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 Contradictory
in Gaining Knowledge in Music


 
In the ab­so­lu­te force-field of the har­mony we real­ize that all the op­po­sites are not neu­tral­ized but rather uni­fied com­pletely in har­mony.
There­fore, in the in­fi­nite field of the har­mony there is no room left any longer for all the con­tra­dic­tion which the rela­tive mu­si­cal proc­ess of know­ing still pos­sessed.

 
Beyond Space and Time the Contradictory is Neutralized
On our eventful way to­wards the har­mony we went through the rela­tive field of gain­ing knowl­edge in mu­sic, and this tran­sient mu­si­cal world was gov­erned by con­tra­dic­tion rooting in the op­pos­ing na­tures of feel­ing and un­der­stand­ing. In the field of the har­mony, how­ever, con­tra­dic­tion was dis­solved by the in­te­gra­tive func­tion of the ab­so­lu­te sound-sub­stance.

 
The Contradictory in Music is Based on the Opposing Natures of Feeling and Understanding
The con­tra­dictory, how­ever, is not trans­formed into equal­ity. When in the proc­ess of gain­ing knowl­edge in mu­sic the con­tra­dictory sneaks in, it is re­moved on the level of the har­mony by the real uni­fi­ca­tion of those forces which, if one com­pares their lim­ited in­sights, only ex­press the con­tra­dictoriness of their lim­ited and op­pos­ing na­tures.

 
Contradictoriness as a Result of Limitations
So, in the end, the con­tra­dictory re­sults less from dif­fer­ently known, par­tial truths, but rather from the very dif­fer­ent in­ten­tions of feel­ing and un­der­stand­ing, which in turn are based on the so es­sen­tially dif­fer­ent ori­en­ta­tion of these two cog­ni­tive fac­ul­ties. And only in the field of the har­mony they show their true func­tion: sud­denly they turn out to be exceedingly pow­er­ful and eager for­ma­tive forces.

 
The Cause of the Contradictory in the Musical Process of Knowing
Due to the enliv­en­ment of the ab­so­lu­te tone-sub­stance within the feel­ing and un­der­stand­ing, their in­ten­tion to form is even fur­ther en­hanced, but at the same time the ex­tremes of their for­ma­tive skill are in­te­grated by the two be­ing raised into a mu­si­cal world of higher or­der, into the world of the har­mony.
And here, in this most per­fect mu­si­cal force-field, a di­vergence of forces is al­ways a con­ver­gence at the same time – just as, when walk­ing the globe in a cer­tain di­rec­tion, we move away from our point of ori­gin, but ap­proach it again at the same time.

 
Strengthening and Integrating the Contradictory Formative Forces in Music
Since now, in the ab­so­lu­te mu­si­cal world of the har­mony, there is no span of time be­tween depart­ing and ar­riv­ing even though we are defi­nitely walk­ing, then, con­se­quently, there is no error of our leav­ing versus the error of our ar­riv­ing, nor the error of our ar­riv­ing versus the error of our leav­ing, nor the error of mov­ing versus our stay­ing in place.

 
Musical Movement beyond Space and Time
On the ab­so­lu­te mu­si­cal level of the har­mony we clearly iden­tify the per­fect and lively, eventful and in­structive in­te­gra­tion of all con­tra­dic­tions.
And when we now look from the field of our pure self-aware­ness out into the world of our lim­ited think­ing, when we look from the in­fi­nite har­mony to the lim­ited mu­si­cal force-fields of the se­quences, the mo­tifs or even the mu­si­cal sound-space, then we real­ize that the con­tra­dictory – like the fallacy be­fore – has its basis in the lim­ited na­ture of the rela­tive mu­si­cal proc­ess of know­ing, and that we dis­solve it only by re­pair­ing to the ab­so­lu­te level of pure mu­si­cal knowl­edge, into the per­fect world of ex­peri­ence of the har­mony, into the lively field of our pure self-knowl­edge.

 
In the Field of Absolute Musical Knowledge the Listener Avoids the Fallacy