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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
Analysis of the Process of
Creating Music

The think­ing proc­ess may well be com­pared to the growth of a tree. Be­cause, once the com­poser per­ceives a per­fect, fun­da­men­tal mu­si­cal idea in his mind on the level of the har­mony – like the in­ner struc­ture of a seed – he cre­ates, from the level of this pure, utmost con­densed cog­ni­tion, the liv­ing tree of his mu­si­cal com­po­si­tion, right to its leaves and blos­soms, in a lively con­tin­uum of thought.

The Concentrated Flow of Creativity in Music
And with great self-dis­ci­pline he will ensure that the natu­ral, con­cen­trated flow of his crea­tiv­ity is not in­ter­rupted; oth­er­wise the com­po­si­tion would im­me­di­ately dis­in­te­grate – just as a tree be­gins to dry up from the very moment its sup­ply of nour­ish­ment is cut off.

The term “to com­pose” lit­er­ally means the outer as­sem­bling of ele­ments to form an os­ten­si­ble whole, which in­deed con­tra­dicts the re­al­ity of crea­tiv­ity.

The Expression “To Compose”
From within the unity of his in­ner, lively cog­ni­tion, the true mu­si­cal art­ist cre­ates the enli­vened di­ver­sity of his mu­si­cal state­ment.

The Creative Process from Within Unity
Look­ing at it more closely, the com­plete truth of how mu­sic origi­nates within the mu­si­cal poet ap­pears much more com­pre­hen­sive than as­sumed so far, and the melody is not the first ele­ment to origi­nate in his mind but in­deed the very last.

So far, the end of the in­ner mu­si­cal act was thought to be the be­gin­ning of cre­at­ing mu­sic.
And to the parts of an un­known whole, which were barely heard in the in­ner ear, some ac­cepted, com­po­si­tional struc­ture was “at­tached,” which then had to simu­late the im­pres­sion of whole­ness.

Beginning and End of the Musical Act
  With kind permission of AAR EDITION INTERNATIONAL