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


Creative Music Listening


 
Be­fore the com­pe­tent com­poser writes down the score he hears his mu­si­cal work in all its di­ver­sity within him­self. Only then he de­fines the in­stru­men­ta­tion to re­pro­duce out­side the mu­sic he has heard within.
The com­poser ex­peri­ences the mu­sic, which he hears inside, as some­thing com­pletely sepa­rate from the score. The de­vel­op­ment of a score, the draft for the ex­ter­nal re­ali­za­tion, then is a men­tal act of will of the mu­si­cal crea­tor – in con­trast to his origi­nal in­ner hear­ing.

 
The First Performance of Music
A com­po­si­tion origi­nates with­out any par­ticu­lar effort of the com­poser’s will. It grows within his mind as a natu­ral ex­pres­sion of his enli­vened fan­tasy.

 
The Naturalness of Creative Hearing
The mu­sic, which the com­poser hears within, is the origi­nal lan­guage of his own feel­ing and think­ing; and, ac­cord­ingly, the mu­sic of his in­ner sphere un­folds only within his own world of feel­ing and think­ing.
In this re­spect the com­poser is the first lis­tener of his mu­sic be­fore he writes it down or per­forms it; and, while writ­ing it down, he no longer ex­peri­ences him­self to be cre­at­ing, but rather “hear­ing” and “cog­niz­ing.”

 
The Cognizant Composer
The field of com­pos­ing is by no means a field of outer in­stru­men­tal ex­peri­men­ta­tion; in its es­sence, it is the ex­peri­ence of a clear and dis­tinct in­ner hear­ing. And only when the in­wardly-lis­ten­ing mu­si­cal crea­tor intends to com­mu­ni­cate to oth­ers what he has heard within, the art of com­pos­ing re­quires the solid knowl­edge of a prac­ti­cal tech­nol­ogy to per­form his mu­sic.

 
Beyond the Experiment
Only now the mu­si­cal crea­tor re­quires a clear knowl­edge of no­ta­tion to write down the score with com­plete con­fi­dence, in or­der to cre­ate a bridge on which his in­ner origi­nal mu­si­cal im­pres­sion can, in its purest pos­si­ble form, find its way to the in­ter­preter.

 
The Bridge from the Musical Creator to the Interpreter