Micro Music Laboratories®
Micro Music Laboratories®
Educational Music


Home

Site Map

Editorial

EDUCATIONAL MUSIC

The Classical Teaching Scope of Music

The Technology of
Human Forces

The Classical Scope
of Music

The Universe of
Musical Sound-Spaces

Authentic Conveyance
of Truth

The Musical Career

The Creative Craft

 

Peter Hübner
Founder of the
Micro Music Laboratories

MAIN LINKS

STORE

 






  The Classical Teaching Scope of Music
     
 
Authentic Conveyance of Truth


   
 
All great mu­si­cal poets ex­pect the in­ter­preter to com­pre­hend their mu­si­cal-ar­tis­tic in­ten­tion, and to have the de­sire to serve hu­man­ity.
Fur­ther­more, the in­ter­preter must know the mean­ing of the com­poser’s in­di­vid­ual mes­sage to his lis­tener. Only on this basis is it pos­si­ble for the in­ter­preter to trans­form the mu­si­cal mean­ing into a state­ment which is nei­ther fixed nor an end to it­self, but is only his outer, prac­ti­cal means to convey to the lis­tener the com­poser’s spe­cific and mu­si­cally coded mes­sage in a fresh and au­then­tic man­ner.

 
“Interpretation”
 
 
In re­al­ity, to the clas­si­cal com­poser, mu­sic is just the poetic me­dium for the de­scrip­tion of the in­ner do­main of hu­man free­dom, to in­spire the lim­ited for the unlim­ited.

 
Inspiration for the Unlimited
 
 
An analy­sis of power shows that mu­sic is di­vided into two large sphe­res: an ac­tive and a pas­sive sphere, a crea­tive and a cre­ated sphere, the sub­jec­tive and the ob­jec­tive field of mu­sic. Where the sounds origi­nate, where the world of the mu­si­cal sound-space be­gins, there ends the sub­jec­tive sphere of mu­sic, and there be­gins its ob­jec­tive field, ex­tend­ing all the way to the acous­tic event.

 
The Subjective and Objective Sphere of Music
 
 
This ob­jec­tive field of mu­sic also in­cludes the di­men­sion of our in­ner hear­ing; be­cause the proc­ess of in­ner hear­ing in­cludes the think­ing of sounds on the level of the mind (i.e., the mu­si­cal thought), as well as the or­gan for sur­vey­ing the thought (the sense of hear­ing), but also the mecha­nism of sur­vey­ing it­self (the me­chan­ics of the sense of hear­ing).

 
The Objective Sphere
 
 
How­ever, this outer world of think­ing is lim­ited in space and time whereas that, which lies at its basis and gen­er­ates it, is lo­cated be­yond space and time and con­sti­tutes the sub­jec­tive, the crea­tive sphere of mu­sic.
If this in­ner, sub­jec­tive sphere is not the con­scious, natu­ral basis of the com­poser’s mu­si­cal think­ing, the mu­si­cian him­self as well as his lis­tener will be barred from the enli­ven­ing, re­ju­ve­nat­ing ef­fect of mu­sic, from the im­mor­tal nectar of the di­vine crea­tive spark, and through their sense of hear­ing they will ex­peri­ence only the outer prod­uct: the world of the ob­jec­tive, the world of the pow­er­less, the mortal as­pect of mu­sic – its body.

 
The Subjective Sphere
 
 
This clear in­sight into the sub­jec­tive and ob­jec­tive sphere of mu­sic re­moves mu­sic and the crea­tion of mu­sic, at their very roots even, from the field of tones into the world of the alive alone – thus prescribing com­pletely new ho­ri­zons for pro­fes­sional mu­sic edu­ca­tion. It calls for a sys­tem­atic train­ing of com­pre­hen­sive hu­man ca­pa­bili­ties which reach into the depth of man’s per­son­al­ity.

 
The True World of Music
 
     
     
       
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
     
  With kind permission of AAR EDITION INTERNATIONAL
© 1998 –  MICRO MUSIC LABORATORIES



 
.