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Scientific Fundamentals of
Music Aesthetics

The Image of
Musical Beauty

The Embodiments
of Harmony

Motivation and Responsibility of the

Reversal of the Reality
of Creating Music

Analysis of the Process
of Creating Music

Music Theory

The Natural Potential
of the True Artist

Synthesis of the
Artistic and Cultural
Achievement of Music


Peter Hübner
Founder of the
Micro Music Laboratories




  Scientific Fundamentals of Music Aesthetics
Motivation and Responsibility
of the Musician

The in­te­grated di­ver­sity of the se­quences, melo­dies, and mo­tifs enli­vens within the lis­tener the world of his in­ner cog­ni­tion and a natu­ral aware­ness of his own in­ner power: the pro­found feel­ing of free sov­er­eignty over his in­ner po­ten­tial of hap­pi­ness.

The Domain of the Musical Force-Fields
The mu­si­cian who, when mu­si­cally struc­tur­ing the sound-space, wants to ex­press this in­ner lively world out­wardly, will ini­tially en­coun­ter dif­fi­cul­ties, be­cause some­thing from inside can­not read­ily be trans­formed into some­thing out­side.

The Inner Dimension of the Interpretation
To mas­ter this task of ex­press­ing com­pre­hen­sive hu­man val­ues through the in­ter­pre­ta­tion re­quires great ideals and the aware­ness of a deep, con­scious re­spon­si­bil­ity to­wards hu­man­ity.

Love of mu­sic is es­sen­tially a qual­ity of the lis­tener. In the in­ter­preter, in the mu­sic ex­pert, it is the love of man­kind which must domi­nate if he wants to pro­mote the good in the world through mu­sic.

Examining the Interpreter's Intentions
And when the mu­si­cian ful­fils this re­quire­ment, he will have the ba­sic at­ti­tude needed to ac­com­plish the la­bo­ri­ous proc­ess of truth­ful con­vey­ance of mu­sic un­per­turbed, and he will emerge from it ful­filled.

In the con­ven­tional tech­nique of com­pos­ing al­ways the motif or the melody seemed to be the first, which the com­poser no­ticed dur­ing in­ner hear­ing. Around the motif or the melody he built – so one thought – the se­quence and then de­ter­mined the har­mony tech­nique.

Analysis of conventional composing
  With kind permission of AAR EDITION INTERNATIONAL