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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
Reversal of the Reality of
Creating Music

In the con­ven­tional tech­nique of com­pos­ing, the motif or the melody al­ways seemed to be the first thing the com­poser no­ticed while lis­ten­ing inside, and it was as­sumed that he formed the se­quence around the motif or the melody, and then de­ter­mined the har­mony.

Analysis of Conventional Composing
In this view of lim­ited mu­si­cal edu­ca­tion how­ever, the in­ner re­al­ity of natu­ral com­pos­ing was turned upside down. The re­sult of such de­fi­cient in­sight into the true proc­ess of cre­at­ing mu­sic was ho­moph­ony, in which the motif seems in­deed to be al­lowed some life of its own, in which, how­ever, such an in­de­pend­ent life does not really exist.

The Sounding Results of the Conventional Technique of Composing
Thus, an in­ner ab­stract mu­si­cal re­al­ity, which is the natu­ral basis of what is heard inside, was not at all taken into ac­count in the con­ven­tional tech­nique of com­pos­ing.

The Creative Accomplishment in the Inaudible Field of Music
The ef­fect was pre­sented as the cause; and upon this pseudo-cause a cor­re­spond­ing pseudo-ef­fect was build with the un­der­stand­able aim of pre­sent­ing in a cer­tain co­her­ent or­der, as a pseudo-whole, the parts which had been heard inside, of the whole which usu­ally had not been heard inside.

Hence, a se­ries of tones which had been heard inside was com­bined with the ar­ti­fi­cial sys­tem of an added-on tech­nique of com­po­si­tion, but the very un­derly­ing or­der had not been rec­og­nized.

The na­ture-given re­al­ity of cre­at­ing mu­sic is ex­actly the re­verse: the first to exist in unity, and to ex­pand in mani­fold ways, is the har­mony and, within it, the logic of the com­po­si­tion. The last to be brought to life in the mind of the com­poser is the tone. It is the end of his proc­ess of cre­at­ing mu­sic and rep­re­sents the physi­ol­ogy of the com­po­si­tion. Thus the tone is the fin­ished prod­uct, some­thing ex­ter­nal, fi­nal – and from here there is no mu­si­cal fur­ther.

The Nature-Given Reality of Creating Music
In the me­chan­ics of the think­ing proc­ess of a com­poser, the in­ner ab­stract knowl­edge of har­mony is the first thing to exist. From the har­mony emerges, as the first crea­tive spark, the com­pre­hen­sive vi­bra­tion of the har­mony-tech­nique: the in­ner breath of the com­po­si­tion.

The First, Creative Musical Spark
From this com­pre­hen­sive vi­bra­tion of the har­mony-tech­nique, the more lim­ited, large waves of the se­quences ex­pand and move as smaller waves, as melo­dies and mo­tifs, to­wards the shore of the mu­si­cal sound-space.

The Wholeness of the Musical-Creative Idea in Its Unfoldment
Only in this last phase of mu­si­cal un­fold­ment, in this out­er­most range of mu­sic, the ele­ment of mu­si­cal sound arises, the com­po­si­tion which can be heard within.

That, which natu­rally seems sig­nifi­cant to the in­ac­cu­rate lis­tener and ob­server, are only the small­est, lim­ited waves and a cer­tain ar­range­ment of small waves, i.e. the motif and the melody.
The larger waves, on which in turn the smaller waves travel, are be­yond the scope of the lim­ited ob­server.
There­fore, the se­quence as such is not rec­og­nized, let aside the har­mony-tech­nique on which it is based, or even the har­mony which is fun­da­men­tal to them all.

The View-Point of Conventional Music Analysis
The con­ven­tional les­sons on com­po­si­tion de­vel­oped from the ig­no­rance of the true, in­ner, natu­ral proc­ess of com­pos­ing. It re­sem­bles the at­tempt to cre­ate fire from smoke, smoke be­ing but the out­er­most, most pas­sive ex­pres­sion of fire.

The Basis of the Conventional Technique of Composing
Just as, from smoke, the pres­ence of fire was de­duced, even if one could not see the fire, like­wise, from the in­ner hear­ing of se­ries of tones the ex­is­tence of a real com­po­si­tion was de­duced. Con­se­quently, one com­bined tonal pat­terns, con­structed a formal, logi­cal sound pat­tern from a col­lec­tion of mu­si­cal ele­ments and thought one­self to be able to “com­pose.”

Lack of Inner Hearing as the Starting Point for Composing
Here, the his­tori­cal de­vel­op­ment of our ana­lyti­cal think­ing comes to light. But this way of ap­proach­ing the liv­ing re­al­ity from out­side – cor­re­spond­ing to the method of mod­ern sci­ence – does not touch the in­ner re­al­ity of the true crea­tion of mu­sic at all.
As the ex­pres­sion “crea­tion of mu­sic” in­di­cates, one cre­ates some­thing di­verse from an origi­nally ex­ist­ing entity. This proc­ess of crea­tion can be com­pared to a tree grow­ing to­wards mul­ti­plic­ity, as an ex­pres­sion of that sin­gle seed which con­tains this whole mul­ti­plic­ity al­ready in a latent, ab­stract form.

The Abstract Diversity in the Unity of Music
“To com­pose” lit­er­ally means “put­ting to­gether,” and cor­re­sponds to the as­sem­bly of an ar­ti­fi­cial tree by join­ing to­gether the roots, trunk, bran­ches, twigs, and leaves, and pre­sent­ing them as the “tree.” Such an ar­ti­fi­cial tree does not breathe life; it will not blos­som, and the study of such com­po­si­tion is a waste of time.

The Conventional, Unalive Technology of Composing
  With kind permission of AAR EDITION INTERNATIONAL