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Micro Music Laboratories – Research & Developement
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The Mixed Form
of Inner and Outer
Musical
Comprehension
of Reality

 

 

 

 

 

The Creative
Stimulation from
Outside

Training the
Musical Creativity

 

 

 

The Unenlivened
Nature in Music

 

 


The Enlivened
Nature in Music

 

 

 


Social
Communities in
Music

 

 

 

The Manifold
Unity of Life in
Music

PART   I
The Structure of the Fields
of Cognition in Music

When the formative qualities of our neurophysiology project the outward musical reality of the concert onto the surface of our mind, and our thinking assumes the form of the outer musical presentation, then our (inner) sense of hearing comprehends in its process of perception the sounding structure of the mind and passes this information of the musical event through our intellect (through our feeling and our understanding) on to our self-awareness.

By identifying itself with the musical projection as it sounds in our mind our self-awareness, in turn, is being stimulated to vibrate, and by means of our intellect it produces associative patterns, related to the musical work, on the surface of our mind. In principle, producing these patterns of association corresponds to a creative act.

But still, there is a difference to a true creative act, in that the creative impulse came from without and not exclusively from within.

This is the method of “creative hearing,” and it serves to educate the mechanism of our creativity.

In this process, our intellect is taught to implement corrective decisions and to rectify the picture of the musical reality which is delivered from outside by the interpreter and to refine it: to bring it to perfection: to restore it to the state of truth that was originally expressed by the composer.

The tones represent the world of the unenlivened nature just as, for example, physics and chemistry circumscribe it with words.
Thereat, in the musical sound-space, music represents this unenlivened sphere of nature directly while physics and chemistry, for example, only describe it, circumscribe it with words, which lack the character of an illustration.

By applying higher principles of order and more subtle means of forming, the musical motifs as the inner, transcendental reality of the tones depict the world of individual cognition just as psychology, too, describes it with words.
By virtue of the musical logic, music in this process pictures the motif-space, this subjective individual sphere of knowledge directly in the depth of the musical sound-space whereas psychology describes it with words alone, without the character of an illustration.

By applying even higher principles of order and even more subtle means of forming, the sequences as the inner transcendental reality of the motifs represent the world of living social knowledge just as sociology, too, circumscribes it with words.
By virtue of the musical logic, music directly pictures this subjective, social sphere of knowledge in the depth of the motif-spaces while sociology describes it only by word, without the character of an illustration.

By applying the highest musical principles of order and the most subtle musical means of forming, the harmony as the inner, transcendental reality of the sequences depicts the world of individual, social, and ecological unity, as psychology, sociology, and ecology, too, together circumscribe it with words.

In the depth of the sequence-spaces, with the help of the musical logic, music directly pictures this supreme and most perfect sphere of cognition of individual, community, and ecology as a single entity while psychology, sociology, and ecology together describe it only by word, without the character of an illustration.

 

                                                                              

 

Reference work: Peter Huebner – Natural Music Hearing
© AAR EDITION INTERNATIONAL 1982
 

 

THE OBJECT OF GAINING KNOWLEDGE IN MUSIC
a useful connection
science                         music                            art
M U S I C   H E A R I N G
MUSIC HEARING

I
THE OBJECT
OF GAINING KNOWLEDGE
IN MUSIC

The System of the
Fields of Knowledge
in
Music

The Funciton of the Fields of Cognition
in
Music

Immediate Knowledge
of the Musical Meaning

The Structure of the Fields of Cognition
in
Music

The Fields of Knowledge of the Musical Representation

Patterns of Perfect
Education in Music