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


Increase of Performance
of the Intellect in Music


 
If our in­tel­lect wants to in­crease its per­form­ance, it must refine it­self struc­tur­ally.
For this, the co­or­di­na­tion of our feel­ing and un­der­stand­ing is of cru­cial im­por­tance; and this co­or­di­na­tion in turn is per­formed by our self-aware­ness.

 
Increase of Structural Density through the Coordination of Feeling and Understanding
Con­se­quently, our self-aware­ness is re­spon­si­ble for the proc­ess of condensation and thus, for the in­crease of per­form­ance of our in­tel­lect, and it pro­vides the nec­es­sary means.

 
The Contribution of the Self-Awareness in the Increase of Performance of the Intellect
As with our self-aware­ness, within our in­tel­lect, too, we find a dif­fer­ent struc­tural den­sity.

 
Where in our in­tel­lect the struc­tural den­sity is lower, we rec­og­nize our forces of un­der­stand­ing – the natu­ral fac­ulty of dis­crimi­na­tion of our in­tel­lect – in their func­tion most dis­tinctly; and this is also from where the re­freshing coolness streams into our mind and gives our think­ing the crys­tal-clear mu­si­cal form.

 
Different Structural Densities of the Intellect
And where in our in­tel­lect the struc­tural den­sity is higher, we iden­tify our forces of feel­ing, our natu­ral fac­ulty of syn­the­sis, most clearly.
And this is also from where the enli­ven­ing warmth streams into our mind and gives our think­ing the crea­tive flow.

 
The Structural Range of the Intellect from Feeling to Understanding
A bal­anced re­la­tion be­tween the cog­ni­tion of unity and of mul­ti­plic­ity in a mu­si­cal work – dur­ing the crea­tive proc­ess of mu­sic it­self, as well as dur­ing the mu­sic hear­ing – re­quires a bal­anced re­la­tion be­tween the feel­ing and the un­der­stand­ing of the com­poser dur­ing his crea­tive proc­ess: it is there­fore based on the in­te­gra­tion of his in­tel­lect.

 
A Balanced Relation between Diversity and Unity in Music
If, for ex­ample, in the proc­ess of cre­at­ing mu­sic his feel­ing pre­domi­nates in the com­poser, the den­sity of in­for­ma­tion is higher, and the risk arises that, due to the den­sity be­ing too high, the di­ver­sity in­her­ent in the com­po­si­tion is not per­ceived by his lis­tener.

 
Balanced Function of the Composer’s Feeling and Understanding
If, how­ever, his un­der­stand­ing pre­domi­nates in the com­poser dur­ing his crea­tive proc­ess, then the mu­si­cal den­sity of the work is lower and the as­pect of di­ver­sity domi­nates over unity.
Thus, there is dan­ger that the unity of the com­po­si­tion is not per­ceived by his lis­tener.

 
Any kind of mu­si­cal cog­ni­tion – which in­deed rests on the com­pre­hen­sion of the mu­si­cal for­ma­tive forces of the motif, the melody, the se­quence, and the har­mony – is ex­clu­sively based on the in­te­grated func­tion­ing of our in­tel­lect.

 
The Functioning of the Intellect in Music