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 Steps of Musical Cognition


 
In its first phase, our proc­ess of gain­ing knowl­edge in mu­sic is of em­piri­cal na­ture.
This is the stage on which we lis­ten­ers com­pre­hend the outer sound­ing mu­si­cal work in terms of its struc­ture.

 
The Systematics of Gaining Knowledge in Music
In its nar­row­ness, how­ever, this em­piri­cal com­pre­hen­sion is di­rectly ex­panded when our in­tel­lect be­gins to ex­am­ine the tonal pat­terns for their mu­si­cal con­tent when it veri­fies and validates them.

 
Our in­tel­lect then conveys the re­sults of its eval­ua­tion to our self-aware­ness; and our self-aware­ness starts, on its own and com­pletely natu­rally, with per­fect­ing the mu­si­cal state­ment.
In do­ing so, our self-aware­ness com­pares the in­sights con­veyed by the in­tel­lect with its own na­ture with our very own in­sights, thus put­ting our own in­her­ent fac­ul­ties of cog­ni­tion to natu­ral, mu­si­cal-crea­tive ac­tion.

 
Hereby, our self-aware­ness uses the in­for­ma­tion of the mu­sic re­ver­ber­at­ing out­side as a pat­tern of as­so­cia­tion, im­per­fect though it may be, to stimu­late the tonal pat­terns of as­so­cia­tion, which exist in us al­ready in a latent and more per­fect form, to vibrate.

 
Stimu­lated in that way, the cog­ni­tive fac­ul­ties of our in­tel­lect get crea­tively ac­tive to pro­vide our self-aware­ness with a more com­plete, more har­mo­ni­ous mu­si­cal pic­ture than the outer per­form­ance af­fords.

 
The Creative Stimulation of Pure Musical Cognition
Thus, by means of the for­ma­tive forces of our in­tel­lect un­der their con­trol, the crea­tive forces of our self-aware­ness struc­ture the se­quence-space, the motif-space, and the mu­si­cal sound-space from within its own natu­ral har­mony, and di­rected out­wardly to­wards our mind.
Fi­nally the con­cert reverberates in the mind of the “crea­tive mu­sic lis­tener” in its per­fec­tion.

 
In this way, our self-aware­ness, and also our feel­ing and our un­der­stand­ing, are sat­is­fied and enjoy the live mu­si­cal truth which now forms a har­mo­ni­ous, mani­fold un­ion in the re­sound­ing spaces of our mind.

 
The Joy of Lively Musical Truth
The “com­pari­son” of the outer mu­si­cal in­ter­pre­ta­tion with the lively art of tones rooted in our self-aware­ness is in es­sence draw­ing from some­thing in­wardly ex­ist­ing, and there­fore it is not cre­at­ing some­thing really new.
This func­tion of “com­pari­son” cor­re­sponds much rather to dis­cov­er­ing a mu­si­cal re­al­ity which al­ready exists and which swings within the si­lence; “cre­at­ing” there­fore cor­re­sponds here rather to “re­mem­ber­ing” through out­side stimu­la­tion but not to the con­cep­tion of some­thing truly new.

 
The Eternal Source of All Wisdom in Music