DEUTSCHE AKADEMIE DER WISSENSCHAFTEN UND KÜNSTE - Peter Hübner

Under the Auspices of the INTERNATIONAL PHILHARMONY FOUNDATION and the

GERMAN CULTURAL FOUNDATION
DEUTSCHE AKADEMIE DER WISSENSCHAFTEN UND KÜNSTE
presents the biggest scientific project of our time

in cooperation with the GERMAN ACADEMY OF SCIENCES & ARTS

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 The Queen of Arts The Queen of Wisdom Absolute Music TEIL I THE PROCESS OF CREATING MUSIC The World of Enlivened Silence The Origin of the Art of Sound Responsible Authorship The Firmament of Music Creative Music Listening Writing Down the Score The Conventional Practice of Notation The Error of the Interpreter The Language of Truth TEIL II THE CLASSICAL TEACHING SCOPE OF MUSIC The Technology of Human Forces The Classical Scope of Music The Universe of Musical Sound-Spaces Authentic Conveyance of Truth The Musical Career The Creative Craft TEIL III THE INNER MECHANICS OF CREATING MUSIC The Dimension of Music The Beginning and End of Creating Music The Natural Seat of the Musical Creator Control over the Composition The Free, Inner, Formative Will The Emperor of Music TEIL IV DIDACTICS OF MUSIC The Study of Musical Creativity Conventional Knowledge of Music Modern Music Analysis TEIL V THE FORCE-FIELDS IN MUSIC The Musical Performers and Their Laws The Motif The Masculine and the Feminine Musical Motif Training the Free Formative Will Motif Recognition Motif-Technique Power and Powerlessness of Musical Interpretation Scenes from the Inner World of Human Evolution Integration of Levels of Creativity The Differentiated Apprehension of the Power of the Harmony The Perfection of the Formative Forces in Music The Melody The Manifold Shape of the Melody The Path of the Human Character in the Musical Form The Sequence in Music The Gate of Harmony to the Outer Music TEIL VI THE PURPOSE OF MUSIC TRADITION Supreme Musical Knowledge Safeguarding the Individual Path of Life The Deeper Musical Sense TEIL VII SPACE AND TIME IN MUSIC The Concept of Space in Music The Two Ways of Experiencing Space Space-Experience in the Microcosm of Music Space-Time Integration in Music Space-Time Fusion through the Integration of the Musical Spaces The Integrated Play of Time and Space The Potential of the Musician The Relationship of Rhythm and Tonality Field of Cognition � Enlivened Silence The Core of Practising the Art of Music Conventional and Modern Mechanisms of Musical Performance TEIL VIII THE PHYSICS OF MUSIC The Dimension of the Tone Mastery over the Instrument Freedom of the Musician The System of the Conventional Presentation of Sound Unlimited Potential for Structuring the Musical Sound-Space The Fixed Tone Modern Sound Production The Long Forgotten World of the Microcosm of Music Entering the True World of Music Musical Sovereignty in the Inner-Tonal Planetary Systems The Inner World of Power of the Melody TEIL IX THE SYSTEMS OF ORDER IN MUSIC Tonality Differences in Understanding as Reflected by Language The Beginnings of Musical History The �New Sound� Composers of the 20th Century and the Range of Intervals Advancing to the Transcendental Play of Music Musical Insight into the Culture of Peoples Musical Relationships The Musical Path to Self-Knowlegde Homophony Polyphony The Counterpoint The Threefold Perfect Form of the Harmony Relations in Music TEIL X SCIENTIFIC FUNDAMENTALS OF MUSIC AESTHETICS The Image of Musical Beauty The Embodiments of Harmony Motivation and Responsibility of the Musician Reversal of the Reality of Creating Music Analysis of the Process of Creating Music Music Theory The Natural Potential of the True Artist Synthesis of the Artistic and Cultural Achievement of Music TEIL XI THE SCIENCE OF MUSIC The Scope of the Science of Music The Inner Breath of Music The Function of the Inner Breath in Music The Scientific Aspect in Music The Perfect Musical Description The Twofold System of Music Analysis The Aspect of Humanities in Music The True Field of Science in Music The Sociology of Music The Ecology of Music The Physics of Music The Physiology of Music The Economy of Music Music Critique Dance in Music TEIL XII MUSIC AND SPEECH Speech The Superiority of Music over the Language of Today Fundamental Research The Organ of Speech The Smithy of Thought Sovereignty over Bound and Free Creativity The Dimension of Creative Unfoldment Control over the World of Thinking Content and Form, Meaning and Structure The Share of the Senses of Perception in the Process of Gaining Knowledge The Language of Music How Our Ancestors Used Language Conclusions from the Ancient Records The Legacy of Our Ancestors The Task Set by Our Ancestor

The Fixed Tone
The conventional use of musical instruments, and the practice of performance and music reproduction so far, did not even permit such a profound experience to be imagined because, among other reasons, the perfectioned instrumentalists, while investigating, planning and constructing, ran aground in the field of periodic waves.		The “Perfectionist” at the Instrument
A periodic wave completely fixates the spectrum of overtones. And because of this complete fixation, along with the over-emphasis on the basic tone, we listeners do not get an impression of the existence of an infinite space-time dimension within the tone.		The Periodic Wave
The conventionally produced instrument sound reminds us of a tree that no longer receives nourishment, and therefore dries up.		The Dried-Up Instrumental Sound

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