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ETHNIC MUSIC

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
Description

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

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  The Science of Music
       
 
The Aspect of Humanities in Music


 
 
 
The hu­mani­ties in mu­sic con­cern the “spiri­tual ele­ment” in mu­sic and the prin­ci­ples of the sys­tem­atic cog­ni­tion and de­scrip­tion of truths through the un­der­stand­ing.

 
Principles of Musical Analysis and the Humanities
 
 
The hu­man mind is the sub­stance through which the com­poser makes the mu­sic re­sound for the first time. And the mind, the phys­ics of the mind, is the mu­si­cal in­stru­ment through which the sound is gen­er­ated.
At the same time, how­ever, the mind is sound it­self, the vi­brat­ing sound-sub­stance in the form of the move­ment of waves on the sur­face of the mind; and the sound­ing com­po­si­tion is the chang­ing vi­bra­tion on the sur­face of the mu­si­cal art­ist’s mind.

 
The Physics of the Mind as a Musical Instrument
 
 
The gain­ing of knowl­edge, as we know it from the hu­mani­ties is, ac­cord­ing to the ex­po­si­tions in this book, an ac­com­plish­ment of the self-aware­ness and is achieved by means of its main or­gan, the in­tel­lect.
The self-aware­ness ac­quires the knowl­edge of the mean­ing of the mu­si­cal state­ment through the in­tel­lect by means of the quali­ties of feel­ing and un­der­stand­ing.

 
The Process of Gaining Knowledge in Music
 
 
More­over, the self-aware­ness trans­lates its in­her­ent knowl­edge into the lan­guage of mu­sic by means of the fac­ul­ties of feel­ing and un­der­stand­ing.
And the ex­pres­sion of this mu­sic “of si­lence” – deep within the con­sci­ence of the mu­si­cal art­ist – is pro­jected by the com­poser’s crea­tive self to the sur­face of his mind, on which his sense of hear­ing feeds.

 
Analysis and Synthesis in the Musical Gaining Knowledge
 
 
“Not will­power be­comes crea­tive
but fan­tasy, imagi­na­tion.”

Wagner


   
 
On the one hand mu­sic is an “a priori sci­ence,” be­cause on the level of the self-aware­ness, through the power of crea­tiv­ity, knowl­edge is sys­tem­ati­cally cog­nized in its seed form, and – start­ing from this in­tui­tive cog­ni­tion – it is pro­jected onto the level of the mind and passed on to the sur­round­ings as an ar­tis­tic mu­si­cal event.

 
The Creative Power of Musical Knowledge
 
 
On the other hand, how­ever, mu­sic has also been de­scribed ear­lier as an em­piri­cal sci­ence, be­cause the self, through the in­tel­lect, sys­tem­ati­cally sur­veys with the sense of hear­ing the mu­sic cre­ated on the level of the mind, and so ex­peri­ences – as if from out­side – the con­tent of truth in the mu­si­cal struc­ture of the com­po­si­tion and as­cer­tains its de­gree of mu­si­cal mas­ter­ship.

 
The Empirical Gaining Knowledge in Music
 
 
With ref­er­ence to the basis of mu­si­cal crea­tiv­ity, this em­piri­cal way of com­pre­hend­ing mu­sic could also be called “the com­pre­hen­sion of mu­sic through the natu­ral sci­ences,” and the a priori way of com­pre­hend­ing mu­sic could also be called “the com­pre­hen­sion of mu­sic through the hu­mani­ties,” be­cause a priori mu­sic is cre­ated – by the self, and em­piri­cally it is heard – again by the self.

 
Gaining Knowledge in Music through the Approach of the Natural Sciences and the Humanities
 
 
In a com­plete cycle of the two sci­en­tific views the in­for­ma­tion of the mu­si­cal event ema­nates from the cre­at­ing self and ad­vances through the in­tel­lect to the level of the mind, where it is per­ceived by the sense of hear­ing and lead back again through the in­tel­lect to the hear­ing self.

 
The Cycle of the Natural Sciences and the Humanities in the Process of Gaining Knowledge in Music
 
     
     
                                 
     
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
                                     
                                     
  With kind permission of AAR EDITION INTERNATIONAL
© 1998 –  MICRO MUSIC LABORATORIES



 
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