THE CLASSICAL COMPOSER AND MUSICOLOGIST PETER HÜBNER
on his International Project of the INTEGRATION OF SCIENCES & ARTS
 
 

NATURAL
MUSIC CREATION


OUVERTURE
THE IMMORTAL ENCHANTED REALM OF THE QUEEN OF MUSIC


TEIL I
THE PROCESS OF CREATING MUSIC


TEIL II
THE CLASSICAL TEACHING SCOPE OF MUSIC


TEIL III
THE INNER MECHANICS OF CREATING MUSIC


TEIL IV
DIDACTICS OF MUSIC


TEIL V
THE FORCE-FIELDS IN MUSIC


TEIL VI
THE PURPOSE OF MUSIC TRADITION


TEIL VII
SPACE AND TIME IN MUSIC


TEIL VIII
THE PHYSICS OF MUSIC


TEIL IX
THE SYSTEMS OF ORDER IN MUSIC


TEIL X
SCIENTIFIC FUNDAMENTALS OF MUSIC AESTHETICS


TEIL XI
THE SCIENCE OF MUSIC


TEIL XII
MUSIC AND SPEECH


Space-Time Integration in Music


 
This fusion of space and time does not mean that our op­pos­ing hu­man quali­ties and their ex­pres­sions in the mu­si­cal sound-space are sus­pended. The mu­si­cal means for stimu­lat­ing the space-aware­ness remain sig­nifi­cant on the level of our mind, but now we rec­og­nize them, from the com­mon basis of space and time in the in­fi­nite, as the di­ver­sity of our own in­ner self-con­scious­ness.

 
The Technology of Space-Time Fusion
To un­der­stand how clas­si­cal mu­sic may stimu­late the aware­ness of space and time in an alert lis­tener, we think of the fear­less user of a swing-boat: high up, just be­fore he turns over at the peak, he reaches a point where he is stand­ing still, a moment of weight­less­ness, in which he for­gets the world, and only one ques­tion is left: “For­ward or back­ward?” At this moment all prob­lems are for­got­ten.

 
Weightlessness in the Musical Presentation
In such a state of sus­pen­sion, the spaces, as ex­peri­enced by our un­der­stand­ing, permeate the spaces as re­vealed to us by our feel­ing, and the longer we main­tain the state of mutual permeation of feel­ing and un­der­stand­ing, the stronger is our ex­peri­ence of enli­vened si­lence.

 
The State of Suspension of the Musical Space-Time Permeation
This permeation of feel­ing and un­der­stand­ing in the space-time re­la­tion­ship, to the com­plete in­te­gra­tion of feel­ing and un­der­stand­ing of the lis­tener, can only be achieved if the mu­si­cian mas­ters the en­tire field of mu­sic in an in­te­grated man­ner.

 
Integrated Control Over the Musical Force-Fields
Out­wardly, the achieve­ment of the mu­si­cian lies par­ticu­larly in his mas­tery of the over­tone-me­chan­ics – the level of the mu­si­cal sound-space.

 
Space-Time Fusion in the Musical Sound-Space
On a level su­pe­rior to the sound-space, in the motif-space, which de­ter­mines the mu­si­cal sound-space from within, our ex­peri­ence of the fusion of space and time is even more pro­found when, through the in­ner power of the se­quence-tech­nique, di­verg­ing mo­tifs turn around and return to each other.

 
Space-Time Fusion in the Motif-Space
On a level su­pe­rior to the motif-space, in the melody-space, the fusion of space and time within our aware­ness is achieved even more ef­fec­tively when a motif un­ex­pect­edly changes and, as if in dis­guise, sud­denly ap­pears from be­hind the cur­tain of the mu­si­cal stage and real­izes the prin­ci­ples of the melody-tech­nique.

 
Space-Time Fusion in the Melody-Space
On a level su­pe­rior to the melody-space, on the level of the se­quence-spaces, the ex­peri­ence of weight­less­ness is pro­duced even more pow­er­fully when a se­quence, with all its pa­rame­ters bal­anced, trans­forms into an­other se­quence.

 
Space Space-Time Fusion in the Sequence-Space
On the high­est level of mu­si­cal crea­tiv­ity weight­less­ness is achieved in our aware­ness when a sound, a motif, a melody, or a se­quence iden­ti­fies with the har­mony, rec­og­nizes its origi­nal home, re­mains there for a moment, and then, strength­ened, con­tin­ues its crea­tive jour­ney through the world of mu­sic.

 
Space-Time Fusion in the Infinity of Harmony