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The Science of Music

The Scope of the
Science of Music

The Inner Breath of Music

The Function of the
Inner Breath in Music

The Scientific Aspect
in Music

The Perfect Musical

The Twofold System
of Music Analysis
of the Composer

The Aspect of
Humanities in Music

The True Field of
Science in Music

The Sociology of Music

The Ecology of Music

The Physics of Music

The Physiology of Music

The Economy of Music

Music Critique

Dance in Music


Peter Hübner
Founder of the
Micro Music Laboratories




  The Science of Music
The Function of the Inner Breath
in Music

Due to this in­fi­nitely subtle in­ner breath the mind, and there­fore also the com­po­si­tion, and the mu­si­cal per­form­ance as well, be­come enli­vened and blos­som into a work of art.

The Process of Conception in the Musical Creation
If this in­ner breath is only slightly ef­fec­tive on the level of the mind – which means that the co­or­di­na­tion be­tween in­ner breath and mind is only poorly de­vel­oped – then the in­tel­lec­tual in­ter­ests of man will gravi­tate all auto­mati­cally, and as if matter of course, rather to­wards the mun­dane sphere of the life­less, and will prin­ci­pally con­cern them­selves with ex­pres­sions of the ma­te­rial world.

The Shift towards Grossness in Music
If, on the other hand, the in­ner breath is very ef­fec­tive in the mind, which means that the mind and the in­ner breath are per­fectly in­te­grated, and are merged into one on the level of the self, then such a highly evolved spiri­tual per­son will pre­domi­nantly occupy him­self with the alive; he will real­ize that all of na­ture is but the ex­pres­sion of life it­self, and in his outer ac­tiv­ity, too, in his mu­si­cal per­form­ance, he will only ex­press life.

The Integration of the Inner Breath with the Musical Thought
It is the in­ner breath which ba­si­cally con­sti­tutes the live­li­ness of the com­po­si­tion. And it de­pends on this live­li­ness, how much and how com­pre­hen­sively a com­po­si­tion is able to ap­peal to the lis­tener on a con­scious level.

The Power of the Inner Breath in Music
This in­ner breath, and the life it brings, turns the mu­si­cal work into a very per­sonal state­ment of the soul – as op­posed to some su­per­fi­cial in­tel­lec­tual rea­son­ing. And also it is the in­ner breath, due to which mu­sic ap­pears so in­fi­nitely more fa­mil­iar to us than all outer, in­tel­lec­tual state­ment.

The Work of Music as the Personal Statement of the Soul
It is the con­scious, and only the con­scious por­tion of the in­ner breath that makes the ex­peri­ence of mu­sic so sat­is­fy­ing to the un­der­stand­ing, and so ful­fill­ing to the feel­ing. There­fore, the in­ner breath is the basis of mu­sic.

The Conscious Portion of Inner Breath in Music
The in­ner breath of mu­sic is the to­tal­ity of space and time, of cau­sal­ity, and of free­dom from pur­pose; it is the to­tal­ity of free­dom for all the mo­tifs be­yond space and time and be­yond causal con­sid­era­tions; it is the to­tal­ity of free­dom be­yond space and time for all the se­quences – and yet it com­prises space and time in their sub­stance.

The Dimension of the Inner Breath in Music
This in­ner breath is be­yond the birth and the pass­ing away of mu­sic. It is the in­fi­nitely con­densed mani­fold beauty of the com­po­si­tion. Com­pared to this ever lively con­tin­uum of re­al­ity a com­po­si­tion ap­pears, on the level of the mind, as a mere shadow.

The Continuum of the Composition
Here lies the be­gin­ning­less and the end­less field of mu­sic which, through the crea­tiv­ity of the art­ist, radi­ates its light into the world of sounds, and the glory of which again reaches the ear of the lis­tener through the mu­si­cal per­form­ance.

Immortal Music is beyond Transient Music
So far, in con­ven­tional mu­sic the­ory this radi­ance of the light of life was com­pre­hended as a mere shadow. At all times, how­ever, the prac­ti­cal as­pect of mu­sic went fur­ther into depth than its theo­reti­cal as­pect. And thanks to this fact, love for mu­sic has been pre­served un­til to­day.

  With kind permission of AAR EDITION INTERNATIONAL