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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 Twofold System of Music Analysis of the Composer

While the self of the com­poser, through the in­tel­lect, fath­oms the sub­jec­tive sphere on the level of the mind, and per­ceives it as be­ing very alive, that very same self scans the sound on the level of the mind from out­side, through the sense of hear­ing as if with a meas­ur­ing in­stru­ment, and makes the com­poser the first lis­tener of his work.

The Subjective and Objective Methods of the Music Creator for Comprehending Music
Due to its na­ture the feel­ing as­pect of the in­tel­lect is as­so­ci­ated with more life than the un­der­stand­ing, and there­fore the lis­tener will al­ways ex­peri­ence the knowl­edge per­ceived on the level of his feel­ing as much more lively than the in­for­ma­tion brought in by his un­der­stand­ing.

The Listener's Twofold System of Music Analysis
By vir­tue of this two­fold-struc­tured sys­tem, based on the feel­ing and the un­der­stand­ing, for gath­er­ing mu­si­cal in­for­ma­tion through the in­tel­lect, the lis­tener re­gards the lively in­ner as­pect of the men­tal mu­si­cal sound-space, which he pre­domi­nantly per­ceives by his feel­ing, as sub­jec­tive. And in con­trast, he re­gards the less lively, outer as­pect of the men­tal mu­si­cal sound-space, which he per­ceives rather by his un­der­stand­ing, as life­less, or as ob­jec­tive.

The Listener's Subjective and Objective Methods for Comprehending Music
Nev­er­the­less, the con­scious self of an alert lis­tener will be aware at all times that na­ture, as mu­sic de­scribes it, is al­ways lively and sub­jec­tive, never dead or, in the sci­en­tific ma­te­ri­alis­tic sense, ob­jec­tive.

The Cognition of the True Sphere of Music as Completely Subjective
The re­al­is­tic, ho­lis­tic de­scrip­tion of the liv­ing re­al­ity through the “spo­ken word” of mu­sic is ex­tremely pro­found and sys­tem­atic – even by to­day’s sci­en­tific stan­dards. This fact, amongst oth­ers, ac­counts for the per­sua­sive power of clas­si­cal mu­sic.

The Spoken Word of Music in the Fire of Scientific Investigation
How­ever, life can­not be pres­sed into pat­terns of ra­tional num­bers. Cor­re­spond­ingly, the ir­ra­tional ele­ment pre­domi­nates in clas­si­cal mu­sic and the dif­fer­ent mu­si­cal pa­rame­ters in­ter­act in ra­tios of ir­ra­tional num­bers, and it is this con­trolled in­cal­cu­la­bil­ity from which the great ap­peal of mu­sic, that re­al­is­tic lively lan­guage, really arises.

The Controlled Incalculability of the Musical Language
As op­posed to the con­ven­tional, ra­tional, ma­te­ri­al­is­ti­cally-ori­ented natu­ral sci­ences, mu­sic de­scribes the re­al­ity of life in the fan­tas­tic di­men­sion of ir­ra­tional val­ues. Al­though the edu­cated mu­si­cian may com­pre­hend the real world ho­lis­ti­cally and in­tui­tively, he can only de­scribe it cor­rectly with ir­ra­tional val­ues, if he wants to ex­press the re­al­ity of life sat­is­fac­to­rily.

Music in the Perfect System of Irrational Values
  With kind permission of AAR EDITION INTERNATIONAL