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 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