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 Dance in Music


 
Mu­sic ap­pears in the form of a dance of tones, mo­tifs, and se­quences.
In the imagi­na­tion of a com­poser, these mu­si­cal ele­ments dance in his mind in that same in­no­cent and non-pur­pose-bound man­ner as butterflies dance over a meadow, as waves dance over the ocean, or as the leaves of trees dance in the autumn wind.

 
The Dance of Tones, Motifs, and Sequences
This dance of the mu­si­cal ele­ments takes place in nu­mer­ous spaces: in the mu­si­cal sound-space, in the deeper and wider motif-spaces, in the even deeper and even more com­pre­hen­sive se­quence-spaces, and in the in­fin­ity of the space of the har­mony.

 
The Dance in the Spaces of the Musical Force-Fields
The danc­ing move­ments of the mu­si­cal ele­ments flow in the in­fin­ity of time.

 
The Dance in the Infinity of Time
The hi­er­ar­chy in which the danc­ing mu­si­cal pa­rame­ters move is com­pletely de­ter­mined by the laws of the har­mony.
Thereby, the har­mony-tech­nique is the basis for the or­ders of the se­quence-tech­nique, and these in turn are the basis for the mani­fold or­ders of the motif-tech­nique.

 
Hierarchy in the Dance of the Musical Forces
To­nal­ity ex­pres­ses the mu­si­cal, cul­tural limits of the dance – the danc­ing floor; the tones ex­press the danc­ing move­ments of the mo­tifs – the dancers; and the melo­dies de­scribe the life-story of the dancers.

 
The Dancing Floor of the Formative Forces in Music
Guided by the se­quence, the mo­tifs dance exuberantly to­wards each other or apart again, like the quali­ties of the hu­man char­ac­ter, which they rep­re­sent, dance to­wards each other or apart again; and their danc­ing shoes appear in the fir­ma­ment of mu­sic as tones, as the shoot­ing stars which flash abundantly across the danc­ing floor of the to­nal­ity.

 
The Sounding Dancing Shoes in the Firmament of Music
The mo­tifs and the se­quences are ab­stract, not con­crete. There­fore, the in­di­vid­uals which wear those danc­ing shoes are in­visi­ble to the mu­sic spec­ta­tor who lis­tens only su­per­fi­cially; and only the true mu­sic lover rec­og­nizes their mul­tiple shapes and forms in the fir­ma­ment of mu­sic with in­creas­ing clar­ity.

 
Detecting Manifold Forms in the Firmament of Music
From the level of his pas­sive mu­sic con­sump­tion, the av­er­age mu­sic con­sumer only rec­og­nizes the danc­ing shoes from be­low. The act­ing per­son­ali­ties of the mu­si­cal drama, how­ever, are so far in­visi­ble to him.

 
Passive Music Consumption of the Music Consumer
When­ever clas­si­cal mu­sic suc­ceeds in en­hanc­ing the af­fec­tion and the at­ten­tion of the lis­tener then, step-by-step, it will re­veal it­self to him as his own in­ner “pleas­ure of danc­ing,” and be­yond the soles of the danc­ing shoes, be­yond the tones, he will rec­og­nize the actors: he will rec­og­nize the mani­fold quali­ties of his own char­ac­ter, and him­self as the choreographer, as the dancers, and also as the proc­ess of danc­ing it­self and as the joy of danc­ing. Then he will enjoy him­self, in the full­est sense of the word, as the solo en­ter­tainer in the ballet of mu­sic.

 
The Solo Entertainer in the Ballet of Music