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 System of the Conventional
Presentation of Sound


 
In the con­ven­tional use of an in­stru­ment the ba­sic tone is con­sid­era­bly louder than the over­tones con­nected to and built upon it. There­fore our fac­ulty of dis­crimi­na­tion ne­glects the spec­trum of over­tones in fa­vour of the ba­sic tone, and we never clearly ex­peri­ence the pat­tern of the over­tones – the true world of the mu­si­cal sound-space.

 
The Unalive, Undynamic Sound
It is like stand­ing in front of a loud ship’s siren, next to which quiet mu­sic is played from the ra­dio: one no longer hears the mu­sic but only a slight col­ouration in the sound of the siren.

 
Strong Basic Tone, Weak Overtones
In the con­ven­tional way of play­ing an in­stru­ment this mixture of siren and ra­dio is what we call the sound of the in­stru­ment, and the re­spec­tive timbre of the in­stru­ment then re­sults from the re­spec­tive ra­dio pro­gram.

 
Limits of the Conventional Instrument Characteristics
Such an in­stru­ment tech­nique is as far from the true mas­tery of an in­stru­ment as this siren-ra­dio mixture is from a subtle, ar­tis­tic mu­si­cal event.

 
Beyond the Subtle, Artistic, Musical Performance
More­over, the lis­tener does not per­ceive the in­di­vid­ual over­tones sepa­rate in space and there­fore misses the ex­peri­ence of space from the very be­gin­ning.