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 Organs of Cognition in the Process of Gaining Knowledge in Music


 
Once the lis­tener knows the natu­ral mu­si­cal ex­peri­ence of a mu­sic crea­tor, then it is his de­sire to sta­bi­lize this world of ex­peri­ence within him­self, too.

 
The Music Listener Aspires to Creative Stability
Only af­ter hav­ing adopted this in­ner art of self-knowl­edge, learn­ing the outer craft of mu­sic makes sense to him.
Then he can as­sume the re­spon­si­bil­ity to in­spire oth­ers for higher knowl­edge, in­deed, for the su­preme self-cog­ni­tion with which he has now be­come fa­mil­iar him­self.

 
The Music Lover Becomes a Teacher of Man
Mu­sic knows the in­di­rect as well as the di­rect way of gain­ing knowl­edge.
Re­lat­ing both to our tools of cog­ni­tion, we find very dif­fer­ent cir­cum­stances re­sult­ing from the in­di­rectness or the di­rectness of our gain­ing knowl­edge.

 
The Inner Field of Gaining Knowledge in Music
Our outer ear, for ex­ample, per­ceives the tone di­rectly in the acous­tic space and trans­mits the in­for­ma­tion of the tone struc­ture to our mind. The mind cre­ates a re­flec­tion of this tone, and our in­ner sense of hear­ing per­ceives this re­flec­tion of tone.
While our outer ear per­ceives the tone in the acous­tic space di­rectly, our in­ner ear rec­og­nizes this tone only in­di­rectly through its replica in our mind.

 
The Outer and the Inner Musical Hearing
Our in­ner or­gan of hear­ing conveys the in­for­ma­tion of the sound to our in­tel­lect, and our un­der­stand­ing infers the pa­rame­ters which de­ter­mine the tone struc­ture – for ex­ample, the pitch, the pro­por­tion of the over­tones, the volume and with it the volume of the in­di­vid­ual over­tones, the du­ra­tion of the in­di­vid­ual over­tones, and so on.

 
The Path of Information from the Musical Sound-Space to the Finer Tools of Cognition
From our in­ner sense of hear­ing our feel­ing gathers the in­for­ma­tion as to the de­gree of den­sity of the in­for­ma­tion, and of the warmth that is pre­sent in the sound­ing event – and thus, also of the malleabil­ity of the sound.

 
The Inner Musical Understanding
Our un­der­stand­ing and our feel­ing evalu­ate the in­for­ma­tion on the sound qual­ity which flows to them from our sense of hear­ing, and these tools of cog­ni­tion, too, re­ceive this knowl­edge about the sound only in­di­rectly – in the fourth de­gree, while the in­ner sense of hear­ing still re­ceived a third-de­gree in­for­ma­tion from the mind.
(Our outer or­gan of hear­ing, our ear, gath­ered a first-de­gree in­for­ma­tion of the sound from the acous­tic space; our mind gath­ered a sec­ond-de­gree sound-in­for­ma­tion from the neu­ro­physi­ol­ogy of the ear; our in­ner sense of hear­ing gath­ered a third-de­gree sound-in­for­ma­tion from our mind, and now our feel­ing and un­der­stand­ing gather from our in­ner sense of hear­ing a fourth-de­gree in­for­ma­tion.)

 
The Tools of Cognition Filtering the Musical Information
Our in­tel­lect hands over to our self-con­scious­ness the in­for­ma­tion that flows to it through feel­ing and un­der­stand­ing along with the re­sults of its ex­ami­na­tions.
At eve­ry step of this flow of in­for­ma­tion through our tools of cog­ni­tion, through our in­tel­lect – through our mind, through our in­ner sense of hear­ing, and through feel­ing and un­der­stand­ing – to our self-aware­ness, the in­for­ma­tion about the tone is sub­jected to change, or to a fil­ter­ing.

 
The Natural Limit of the Organ of Hearing
Our outer or­gan of hear­ing draws from the sound, that reverberates in the acous­tic space, only as much in­for­ma­tion as it is ca­pa­ble of per­ceiv­ing, and here the thresh­old of hear­ing rep­re­sents its natu­ral limit.

 
Our mind, in turn, rep­re­sents only as much of the acous­tic event as it is ca­pa­ble of rep­re­sent­ing, and the accuracy of its rep­re­sen­ta­tion de­pends on the op­era­tional qual­ity of the neu­ro­physi­ol­ogy – i.e. on the de­gree of our neu­ro­physi­ologi­cal in­te­gra­tion.

 
Quality of Function of the Neurophysiology
If the sound, which reverberates in the acous­tic space and which is trans­mit­ted via our outer or­gan of hear­ing to our mind, is very com­plex, and if its pa­rame­ters change in a very subtle man­ner, then it may well happen that our mind does not pro­duce a replica of a sound equally subtly struc­tured, be­cause our neu­ro­physi­ol­ogy can­not trans­mit to our mind fast enough all the mani­fold ele­ments of the tonal struc­tural change as it evolves.

 
Transfer Losses Due to Complexity
In such a case, only a quasi simi­lar tone is gen­er­ated in our mind, a sound with a simplified pat­tern, which has aban­doned many in­di­vid­ual com­po­nents of the sound – fine nuances of its shape.
Thus, the sound which reverberates in all its di­ver­sity in the acous­tic space, does not really reach our mind.