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 Belated


 
This cog­ni­tive vi­sion, in which we com­pare the to­tal­ity of the ab­so­lu­te mu­sic in the in­fi­nite mu­si­cal force-field of the har­mony with the rela­tive force-fields of mu­sic, re­veals to us how the lat­ter, in their en­tirety, un­fold from the har­mony.
With this in­sight, our origi­nal con­cept of the re­al­ity of mu­sic is sim­ply turned upside down.

 
The Pure Knowledge of the Reality of Music
In the rela­tive field of mu­si­cal struc­tural change we gradu­ally in­ferred an in­creas­ingly higher mu­si­cal mean­ing – at least we thought we did.
Thereat our en­tire proc­ess of know­ing was sub­ject to space and time.

 
The Unrealistic Course of the Musical Process of Gaining Knowledge
How­ever, from the cog­ni­tive world of the har­mony, we now real­ize that the terms “higher or lower mu­si­cal mean­ing” have no rele­vance at all.
Just as one be­lieves one could con­clude an ob­ject from its shadow – al­though the shadow ac­tu­ally is a void of light and, in­deed, noth­ing real – like­wise we make-be­lieve cog­nizers thought to gradu­ally con­clude a higher mu­si­cal mean­ing, a higher mu­si­cal truth, a higher mu­si­cal knowl­edge in our sup­posed rela­tive mu­si­cal proc­ess of gain­ing knowl­edge.

 
Beyond Higher and Lower Musical Meaning
Seen from the ab­so­lu­te mu­si­cal field of the har­mony, how­ever, such a sup­posed proc­ess of know­ing takes place as lit­tle as a shadow gives us the ob­ject by which it is thrown.

 
Illusion of the Relative Gaining Knowledge
From the field of pure self-knowl­edge, from the ab­so­lu­te force-field of the har­mony, we un­der­stand the non-re­al­ity of the rela­tive sphere of mu­sic – and, cor­re­spond­ingly, of rela­tive mu­si­cal knowl­edge – and we are even sure now that our per­sonal mu­si­cal way of knowl­edge into the in­fin­ity of the har­mony was only pos­si­ble by vir­tue of a mira­cle – al­though, maybe, a mu­si­cal mira­cle.

Such is the na­ture of mu­si­cal knowl­edge.

 
The Unreality of Created Music