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


The Fields of Knowledge
of the Musical Representation


 
Hence, mu­sic de­picts the cog­ni­tive field of our ecol­ogy in the force-field of its mu­si­cal sound-space.
In its motif-space, it por­trays the field of our in­di­vid­ual knowl­edge; in the mu­si­cal force-field of the se­quence-space it ex­plains the realm of our so­cial world of knowl­edge.
In yet a higher, or bet­ter: unworldly, sense mu­sic de­picts the per­fect func­tion­ing of na­ture in its whole­ness in the space of the har­mony.

 
The Musical Systems of Order as Fields of Description of Reality
The mu­si­cal sound-space can be com­pared to our physi­ol­ogy, and the tones dis­played in it cor­re­spond to the atoms and molecules of our physi­ol­ogy.
The in­ner struc­ture of the tones cor­re­sponds to the in­ner struc­ture of the atoms, and the mani­fold re­la­tions of tones are an equiva­lent of the mo­lecu­lar struc­tures in na­ture.

 
Physics in Music
The sta­ble atom is rep­re­sented by the pe­ri­odi­cal vi­bra­tion, and the mas­tery over the atomic struc­ture ap­pears in the re­sound­ing form of the con­trolled ape­ri­odi­cal vi­bra­tion.
The un­con­trolled ape­ri­odi­cal vi­bra­tion sym­bol­izes the atom as it grows or decays.

 
The power over the atoms which phys­ics, for ex­ample, at­tempts or ex­er­cises in nu­clear fis­sion, is equiva­lent to the mu­si­cal seiz­ing power over the mi­cro­cosm of the mu­si­cal sound-space, which lies in the in­te­grated mas­tery of the over­tone-me­chan­ics.

 
Atom Physics in Music
The mani­fold, larger com­bi­na­tions of atoms and molecules are rep­re­sented by the ho­moph­ony by means of sums of pe­ri­odic vi­bra­tions which cor­re­spond to the struc­ture of crys­tals or to the crys­tal struc­ture of the ele­ments in na­ture.
The more com­plex com­bi­na­tions of tones in the mu­si­cal form-field be­tween ho­moph­ony and po­lyph­ony cor­re­spond to the or­gan­isms of liv­ing be­ings.

 
Budding Life in Music
Po­lyph­ony de­scribes the in­fi­nite change of the ele­ments and in this re­spect, the ele­ment which lies at the basis of the physi­cal: the men­tal-emo­tional.

 
The Mental-Emotional Element in Music