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


Musical Depreciation


 
A natu­ral re­sult of know­ing the truth in the su­preme force-field of mu­sic – in the har­mony – is that the lis­tener makes the ex­peri­ence of the com­plete ful­fil­ment of de­sires.
Here, in the ab­so­lu­te mu­si­cal force-field be­yond space and time, we quite spon­ta­ne­ously make the natu­ral ex­peri­ence of all the ad­van­tages mu­sic may ever offer, and while we look back now, from this su­preme level of mu­si­cal knowl­edge, to the world of mu­sic which we once went through with heated dis­cus­sions be­tween feel­ing and un­der­stand­ing when we delved, start­ing from the mu­si­cal sound-space, into ever finer struc­tures of the mu­si­cal mean­ing, then the mu­si­cal world of the se­quences, the mo­tifs, and of the mu­si­cal sound-space, that had been so dear to us be­fore, is only a very lim­ited world to us.

 
The Listener Experiences Complete Fulfilment of Desires
Look­ing out into the space-time world, the mu­si­cal flow now ap­pears to us only as an inert world dragging by.
Even the se­quences appear inert to us – much more so the mo­tifs, not to speak about the tones which trundle along be­fore our men­tal eye like boulders, while the mo­tifs at least stumble, and the se­quences even try to achieve some har­mo­ni­ous flow.

 
The Musical Flow in the Space-Time World
So, in this our com­plete mu­si­cal ex­peri­ence in the ab­so­lu­te Now of the har­mony, the mu­si­cal bridg­ing of in­fi­nite spaces and times is not even the matter of a sin­gle moment, but it takes place in the in­fi­nitely con­densed span of true simultaneity.
And our lively ex­peri­ence bridges all con­ceiv­able spaces and times in the to­nal­ity of the eter­nal pre­sent moment.

 
Music Bridges Infinite Spaces and Times
This mu­si­cal ex­peri­ence of our in­fi­nite, dy­namic, unlim­ited, mani­fold, pure self-aware­ness, and the si­mul­ta­ne­ous ex­peri­ence of the languid flow of the outer world of mu­sic, un­der­standa­bly re­duce the value of all rela­tive mu­sic for us.
True and last­ing value we at­trib­ute only to the real mu­si­cal field of pure har­mony.

 
All Relative Music Diminishes in Value for the Listener
Thus, to the crea­tive mu­sic lis­tener, the outer mu­si­cal world is only a dull imitation of a very small de­tail of his ac­tual in­ner mu­si­cal wealth he ex­peri­ences in the realm of the har­mony, and now to him the outer mu­si­cal per­form­ance is of as lit­tle sig­nifi­cance as some seed of some plant in some granary is to the crea­tor of the world.

 
The Significance of the Outer Musical Performance
The crea­tive mu­sic lis­tener, there­fore, no longer wants to leave his per­fect world of the har­mony for that outer world of il­lu­sion. This is his natu­ral stand­point now.

 
The Creative Music Listener Identifies the Musical World of Illusions