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


Power and Powerlessness of Musical Interpretation


 
A hu­man qual­ity is a force, and we get a feel­ing for the di­men­sion of this force when quali­ties of op­pos­ing na­ture col­lide with each other.

 
Sensing the Inner Motif Forces
No matter how loud the motif will sound, as long as we re­strict it to a par­ticu­lar point in the acous­tic space, by assigning it to a fixed group of in­stru­ments or one in­stru­ment, even a very imagi­na­tive lis­tener will only get a faint idea of the im­mense im­pres­sion of space the com­poser origi­nally ex­peri­enced. Also, we feel only lit­tle of the na­ture of the in­ner-hu­man qual­ity to be ex­pres­sed, we ex­peri­ence only lit­tle of the power with which that hu­man qual­ity rises from the field of our in­ner­most con­sci­ence into the world of feel­ing and think­ing and impels us to act, and we feel noth­ing of a skil­ful han­dling of our most im­por­tant in­ner-hu­man driv­ing forces which, from the point of view of our great clas­si­cal mu­si­cians, are meant to make us hu­man be­ings free mas­ters of our­selves.

 
The Motif Played without Dimension
In the con­ven­tional prac­tice of per­form­ance the motif body is played with­out di­men­sion. This can be com­pared to show­ing flat bal­loons to some­one, try­ing to in­spire him par­ticu­larly in terms of form and col­our. To cre­ate a col­our­ful im­pres­sion of space the bal­loons must be inflated and re­leased to fly.

 
Conventional and Modern Performance
As we will see later, the re­ali­za­tion of the motif-tech­nique re­quires a proficient mas­tery of the over­tone-me­chan­ics of the sound.

 
As men­tioned ear­lier, a mu­si­cal motif al­ways ex­pres­ses a spe­cific in­ner-hu­man qual­ity, and wher­ever it ap­pears, the lan­guage of mu­sic elu­ci­dates how a par­ticu­lar hu­man qual­ity in­flu­ences its sur­round­ings and as­pires sov­er­eignty in the proc­ess of the ful­fil­ment of de­sire.

 
The Effect of the Musical Motifs
This uni­ver­sal mu­si­cal por­trayal of uni­ver­sally-hu­man na­ture ac­counts for the great charm of clas­si­cal mu­sic, for as con­fi­dently as the sci­en­tist knows the outer world and de­scribes it from out­side, as con­fi­dently the clas­si­cal com­poser knows and de­scribes our in­ner world of man.

 
The Science of Intuition