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Ethnic Music

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ETHNIC MUSIC

Music and Speech

Speech

The Superiority of Music
over the Language of Today

Fundamental Research

The Organ of Speech

The Smithy of Thought

Sovereignty over Bound and Free Creativity

The Dimension of
Creative Unfoldment

Control over the World
of Thinking

Content and Form,
Meaning and Structure

The Share of the
Senses of Perception
in the Process of
Gaining Knowledge

The Language of Music

How Our Ancestors
Used Language

Conclusions from the
Ancient Records

The Legacy of
Our Ancestors

The Task Set by
Our Ancestors

 

Peter Hübner
Founder of the
Micro Music Laboratories

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  Music and Speech
         
 
Control over the World of Thinking


 
 
 
For the great com­pos­ers of all times it was com­pletely natu­ral to con­trol and rule the in­ner world of their think­ing, and this sov­er­eignty was pre­ceded by an in­ten­sive study of their in­ner forces. This study was based on the es­tab­lish­ment of a sys­tem for their con­trol and was sys­tem­ati­cally de­vel­oped and re­fined, which in turn re­sulted in a re­fine­ment of the mu­si­cal art.

 
The Example of the Great Composers in Refining the Musical Art
 
 
From the high de­gree of per­ceiv­able or­der and the con­ti­nu­ity of this com­po­si­tional de­sign we have good rea­son to­day to con­clude that the great mu­si­cal art­ists must have been crea­tive from a pow­er­ful wak­ing state of con­scious­ness – a world of lively fan­tasy, gov­erned by the self. This is the rea­son why the great mu­si­cal poets are so very much alive in the mem­ory of the peo­ple.

 
The Powerful Waking State of Consciousness of the Great Musical Artists
 
 
Thus, the in­ner proc­ess of the ar­ticu­la­tion of speech proves to be the proc­ess of ar­ticu­la­tion of our mind, the proc­ess of ar­ticu­la­tion of our think­ing, the mecha­nism for the crea­tion of our thoughts. And to rule this proc­ess of ar­ticu­la­tion means: to rule the proc­ess by which one gen­er­ates a thought, sus­tains it, changes it, and al­lows it to fade again.

 
The Inner Articulation of Music
 
 
This sov­er­eignty over his in­ner or­gan of speech is es­sen­tial for the mu­si­cian’s ar­tis­tic achieve­ment – for if he does not mas­ter the mecha­nism of his mu­si­cal imagi­na­tion how then is he going to mas­ter mu­sic? What does he intend to com­mu­ni­cate to his neighbour? And on what basis?

 
The Artistic Achievement of the Musician
 
 
Be­fore the mu­si­cian forms a sound with the help of an in­stru­ment he must first ar­ticu­late it men­tally, think it con­sciously, then hear it con­sciously, and he must con­sciously feel the mani­fold ef­fect on him­self of the sound he is think­ing. Only then is he able to assess the ef­fect of this sound on his neighbour.

 
The Basis of Sound Generation
 
 
If the proc­ess of mak­ing mu­sic does not take place in this com­pletely con­scious man­ner, the mu­si­cian does not know at all what he is do­ing. And this type of mu­si­cian is re­jected by all great mu­si­cal crea­tors.

 
The Perfect Process of Making Music
 
     
     
                                 
     
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
                                     
                                     
  With kind permission of AAR EDITION INTERNATIONAL
© 1998 –  MICRO MUSIC LABORATORIES



 
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