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 Musical Dispute


 
While the mu­si­cal dis­cus­sion be­tween our feel­ing and our un­der­stand­ing ad­vances the proc­ess of find­ing truth and thus, in the proc­ess of gain­ing knowl­edge in mu­sic, sys­tem­ati­cally puts us into the po­si­tion of a crea­tor of mu­sic, the “dis­pute” is the cli­max of this de­vel­op­ment.
This “dis­pute” is the very logi­cal re­sult of the mu­si­cal path of knowl­edge taken up in the dis­cus­sion.

 
The Musical Discussion of the Composer
The term “dis­pute” is com­monly as­so­ci­ated with some kind of nega­tive dis­cus­sion.
Here, how­ever, the term “dis­pute” only de­nies the ex­clu­sive ex­is­tence of unity within the har­mony – unity to the ex­clu­sion of eve­ry­thing else, some­thing our un­der­stand­ing tried to avoid in its rela­tive proc­ess of know­ing be­cause it ap­peared too sim­ple, not di­verse enough.

 
The Perfect Dispute between Unity and Diversity
No sooner had our un­der­stand­ing reached the height of the har­mony, and no sooner was it inundated there with the quali­ties of pure self-aware­ness, than it real­ized that here, in the field of the har­mony, it was sud­denly and un­ex­pect­edly on a com­pletely new level of su­preme mu­si­cal knowl­edge.

 
The Understanding under the All-Nourishing Influence of Pure Self-Awareness
And at the bright height of its to­tal cog­ni­tive abil­ity, our un­der­stand­ing now real­izes that, when ex­am­ined very closely, the unity of the har­mony com­pletely un­ex­pect­edly re­veals an in­fi­nite mul­ti­plic­ity.

 
The Understanding Perceives Diversity within Unity
From the state of rela­tive wak­ing-con­scious­ness the un­der­stand­ing would never have ex­pected this wealth, be­cause dur­ing the mu­si­cal proc­ess of know­ing – as seen from the un­der­stand­ing – sim­plic­ity had only in­creased, while con­se­quently the di­ver­sity had con­tinu­ally be­come less and less dis­tinct.

 
How­ever, with this as­sump­tion in the rela­tive mu­si­cal cog­ni­tive proc­ess, our un­der­stand­ing is in error owing to a lack of its own in­ner enliv­en­ment. Due to its in­er­tia, it had not enough sen­si­tiv­ity to per­ceive di­ver­sity in the spaces of a higher mu­si­cal or­der with the same dis­tinc­tion as in the spaces of a lower mu­si­cal or­der.

 
Intellectual Musical Errors due to Lack of Enlivenment
In the motif-space, for ex­ample, the un­der­stand­ing no longer per­ceived the mani­fold tones which it had so clearly rec­og­nized in the mu­si­cal tone-space: be­cause tonal mul­ti­plic­ity ad­heres to the mo­tifs only as much as, for ex­ample, the fat of a ball of butter sticks to the hand af­ter the butter has been thrown away – while the ball is far away, travelling the course that is de­ter­mined by the hand.

 
Intellectual Ignorance of the Diversity in the Motif-Space