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


Natural Structuring
of the Sound Pattern in Music


 
If our cog­ni­tive proc­ess is not be­ing blocked in this way, and if – due to a natu­ral struc­ture of the tonal pat­tern and its natu­ral pat­tern of vi­bra­tion – we can be enticed by the in­ter­preter into the in­ner world of the tone, then we dis­cover the motif that un­der­lies the tone, then we per­ceive the lively in­ner form of the tone.
By means of our in­tel­lec­tual and emo­tional cog­ni­tive power we deduce, in ac­cor­dance with the laws of the mu­si­cal logic, the course of de­vel­op­ment of the mu­si­cal motif, the evo­lu­tion of the soul of the tone.

 
Responsibility of the Performer in the Process of Gaining Knowledge in Music
Only this kind of har­mo­ni­ously un­fold­ing in­for­ma­tion we can pass on to our self-aware­ness through our in­tel­lect. Then, in its own pat­tern of vi­bra­tion, our self-aware­ness dis­cov­ers simi­larities or identi­ties with the ab­stract pat­tern of vi­bra­tion of the motif, and it there­fore iden­ti­fies it­self with it in vari­ous de­grees.
In this moment, we feel un­der­stood in our very na­ture, for in the motif we ac­tu­ally rec­og­nize our own in­di­vid­ual pat­terns of be­hav­iour.

 
Harmoniious Information Development through the Interpreter
Mu­si­cal knowl­edge of the in­di­vid­ual pat­terns of be­hav­iour is not di­rectly of em­piri­cal na­ture, be­cause the tone pat­terns dis­played on the sur­face of our mind are not the motif it­self, but only its sound­ing shell which sur­rounds the motif, just as the clothing sur­rounds the body.

 
The Musical Knowledge of the Individual Patterns of Behaviour
And just as, by vir­tue of logi­cal con­clu­sions, we con­clude some­one’s physi­cal build from his clothes with­out requiring X-ray vi­sion, or,
    we con­clude his move­ments from the move­ment of his clothes, or
    we con­clude his spon­ta­ne­ous per­sonal de­ci­sions from the spontaneity of the move­ments of his dress,
    in the same man­ner we con­clude the motif dwell­ing in the tone from the har­mo­ni­ous flow of mo­tions of the tone; and to this we make use of our in­ner fac­ulty of logi­cal deduc­tion – the na­ture-given po­ten­tial of our in­tel­lect.

 
Knowing the Reality in Music by Logical Conclusion
The gen­eral struc­ture of the mu­si­cal sound-space al­ready gives us an idea of whether this sound-space is gov­erned by lively, in­ner, mu­si­cal forces – whether this mu­sic has had its source within some­one, or whether it has been pro­grammed as if by a com­puter on the lines of con­ven­tion­ally stud­ied com­po­si­tion, and fol­low­ing spe­cific, pre-scribed, com­po­si­tional pat­terns.

 
Music – Created by Human Power
To find this out, we need no lengthy analy­sis, be­cause even from the struc­ture of a sin­gle tone we can tell what to ex­pect from the en­tire per­form­ance.

 
Only in its out­er­most reaches – i.e. in the range of physi­ol­ogy, if at all – does the liv­ing move in steps or in pe­ri­odi­cal pat­terns.

 
Structural Musical Analysis of Values
How­ever, the higher our mu­si­cal think­ing is de­vel­oped, the more sen­si­tively we ex­am­ine the sub­tler mu­si­cal struc­tures, and the more com­pre­hen­sively we fathom the mu­si­cal mean­ing, and all the more re­lia­bly we will real­ize on the level of our own con­scious­ness, that pe­rio­dic­ity in the motif-space falls un­der what we term “set phrases” to­day, or that a step-wise struc­ture in mu­sic cor­re­sponds not to some­one’s natu­ral path of evo­lu­tion, but rather to some­one drop­ping down to the hard ground from many me­ters high.

 
The in­ner or­der of the mu­si­cal motif-space, the den­sity of its mu­si­cal struc­ture, makes any un­natu­ral mu­si­cal move­ment as con­spicu­ous as the un­natu­ral move­ment of a sin­gle leg in a centipede, or as a sin­gle tooth, bent or bro­ken, in a comb.

 
Knowing the Natural in Music
In his natu­ral feel­ing, the lis­tener per­ceives a travesty of pe­ri­odi­cal or serrated tones in the har­mo­ni­ous mu­si­cal den­sity of or­der of the motif-space as unsuit­able or even un­com­fort­able, and he sees a struc­tural dis­tortion in the motif-space as clearly as he can see that some­one has one arm too many or too few.

 
The Listener’s Natural Appreciation of Values