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 System of Musical Deduction


 
Mu­si­cal deduc­tion con­cerns set­ting our in­tel­lect into func­tion, which hap­pens in two ways:

 
through the outer mu­si­cal in­for­ma­tion in the cog­ni­tive field of the mu­si­cal sound-space;
via the outer per­cep­tion in the acous­tic space our in­tel­lect is stimu­lated to ana­lyze the sounds of the mu­si­cal work with a view to syn­the­sis.
This is the onset of our mu­si­cal way to knowl­edge; it starts with the ac­ti­va­tion of the forces of our un­der­stand­ing and ends in the ac­ti­va­tion of the forces of our feel­ing.

 
Deduction in the Cognitive Field of the Musical Sound-Space
through the in­ner mu­si­cal in­for­ma­tion in the cog­ni­tive field of the self-aware­ness;
through the outer per­form­ance, and through the proc­ess of the re­fine­ment of per­cep­tion laid out in the mu­si­cal work, our in­tel­lect, through our un­der­stand­ing, in­creases its ana­lyz­ing func­tion and con­verts it, step by step, into a func­tion of syn­the­sis.

 
Deduction in the Cognitive Field ofthe Harmony
In this proc­ess, our forces of un­der­stand­ing are sys­tem-atically stimu­lated to refine them­selves, and fi­nally they reach the level of cog­ni­tion in terms of the feel­ing.
Here, the mu­sic lis­tener reaches the cli­max of his rela­tive mu­si­cal way to knowl­edge.

 
The cog­ni­tion of the mu­si­cal state­ment and the com­pre­hen­sion of the mu­si­cal truth in the motif-space is em­piri­cal only in that we per­ceive the sound-pat­tern, the outer layer of the motif in the mu­si­cal sound-space with our hear­ing.

 
Cognition of the More Subtle Musical Force-Fields
The mu­si­cal motif it­self, and its quali­ties, we deduce only by means of our in­tel­lec­tual fac­ulty of logic, and the in­for­ma­tion re­quired to do so we draw from the struc­tural change of the tone pat­tern.
And our in­tel­lect hands over the in­sight ob­tained in that man­ner to our self-aware­ness as its own, care­fully re­flected knowl­edge.

 
To cog­nize the mu­si­cal se­quences, how­ever, the ca­pac­ity of our in­tel­lec­tual power, its in­teg­rity must be in­creased sub­stan­tially; and in or­der to com­pre­hend the har­mony, our in­tel­lec­tual ca­pa­bili­ties must reach their high­est peak.

 
When we dis­cover the har­mony, a phase tran­si­tion takes place in the proc­ess of our mu­si­cal gain­ing knowl­edge, in that our self-aware­ness be­comes ca­pa­ble of iden­tifying it­self on the level of the har­mony with the mu­si­cal state­ment in its to­tal­ity.

 
Phase Transition in the Musical Gaining of Knowledge
Hence, the lis­tener be­comes a crea­tive mu­sic lis­tener, and the mu­sic con­sumer po­ten­tially turns into a mu­sic crea­tor or into a per­fect per­for­mer.
For wher­ever a se­quence does not un­fold all natu­rally in lively di­ver­sity from the har­mony be­cause the mu­si­cian in­ter­preter has not real­ized this level of knowl­edge within him­self the crea­tive mu­sic lis­tener stimu­lates this lively un­fold­ment within him­self and per­forms it on the level of his own men­tal space of ex­peri­ence in­de­pend­ent of the qual­ity of the per­form­ance re­sound­ing out­wards in the acous­tic space.

 
And even if the outer per­for­mer makes the great­est blun­ders even if he glo­ri­fies the pe­ri­odi­cal “in­stru­ment-spe­cific” vi­bra­tions and thereby de­picts ex­clu­sively na­ture un­enli­vened then from his own crea­tive, cog­ni­tive po­ten­tial, the crea­tive mu­sic lis­tener enli­vens within him­self this in­ani­mate mu­sic by means of the com­po­si­tional logic, and re­stores it again to a liv­ing mu­si­cal reve­la­tion un­der his own, in­ner, per­fect laws of har­mony: and he hears the origi­nal, pure form of the mu­si­cal work which is maybe be­ing disfigured in the con­cert hall out­side at the same time.

 
Knowing the Original Perfect Form of the Musical Creation