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 Integrated Play of
Time and Space


 
The basis of true mu­si­cal per­form­ance is the skil­ful pres­en­ta­tion of the in­te­grated play of these two great pow­ers of na­ture. Time and space are the foun­da­tion, the strong pil­lars which, curving to­wards each other like an arch, shel­ter the lis­tener while let­ting the mu­sic re­sound be­tween him and them­selves.

 
The Basis of True Musical Performance
Space and time, the two in­visi­ble, in­au­dible sov­er­eigns of the realm of tones are the great friends and pa­trons of the clas­si­cal mu­si­cian.

 
The Great Patrons of the Classical Musician
If the mu­si­cian suc­ceeds in con­sciously unit­ing his in­ner ar­tis­tic na­ture with the great sov­er­eigns space and time, he has gained for him­self and for the lis­tener in­fin­ity in the gar­ment of beauty, and this in­valu­able gift marks the be­gin­ning of his ac­tual career in mu­sic.

 
The True Beginning of the Musical Career
With the help of the two mighty arms space and time, the pow­er­ful mu­si­cian pre­sents to us the sacrificial bowl of life in the form of mu­si­cal beauty. This in­spires us to sac­ri­fice our lim­ited ideas to the di­vine spark of in­ner cog­ni­tion, and we gain the ex­peri­ence of free­dom.

 
The Powerful and the Powerless Musician
If, how­ever, the un­edu­cated mu­si­cian, due to his lim­ited con­scious­ness, be­comes in­volved in rhyth­mic pe­rio­dic­ity, he makes time and space his ene­mies leav­ing him­self and us lis­ten­ers to the ex­peri­ence of mor­tal­ity.

 
If the ex­peri­ence of time seems to appear in con­ven­tional mu­sic, it is rather our pain­ful ex­peri­ence of time as sepa­rated from space, pro­duced by the rhyth­mi­cal and tonal (spec­tral) monotony, and annoys us lis­ten­ers in our pur­suit of ful­fil­ment: then the piece of mu­sic, or rather the piece of noise, drags along like an inert life­less mass giv­ing us the feel­ing of mor­tal­ity, the im­pres­sion of boundedness, and it sets our mind on chas­ing the fleeting pleas­ures of life in the lit­tle time that is left to us, try­ing not to miss any­thing.

 
Spectral Monotony