natural Appreciation for Music
Is it easy to make harmonical music, could, for instance, composers of disharmonious
music i.e. members of the avant-garde - easily decide to make harmonious
PETER HÜBNER: First of all, it is
worthwhile differentiating conceptually between harmonious and harmonical
music. The music that is categorised as harmonious music lets
take folk-music or so-called folk-music which tends more towards being a pop
song, but also large parts of jazz and rock music right up to pop music, and
almost the whole of dance music they all use certain elements of the
harmonical. That is why, in large parts, this entire music appears to be harmonious
to the layperson well, it is.
The laws of harmony of the microcosm of music reveal to us a natural and inevitable
musical system and a musical order which is perfectly harmonious. This applies
to both the spatial aspect of the pitch as well as the temporal aspect of
tonal rhythms, but also all the other further aspects of musical parameters,
such as the processes of swinging in and out, modulations, the mechanics of
overwaves etc., etc..
A certain insight into these facts be it intuitive or scientifically
objective in connection with musical creativity, brings to light first
of all quite spontaneously and naturally what is called harmonious music.
With the so-called shallow light music, the pop-song, with some kinds of rock
music and with the folk-music tending towards the pop-song, a slight natural
insight into the laws of harmony of the microcosm of music can be proven.
With folk-music and large parts of jazz this insight into the laws of harmony
of the microcosm of music is greater mostly, of course, purely intuitive.
In the field of classical music, this insight is revealed most of all, but
here only with the great classical tone creators, and surely not with todays
interpreters of classical music.
Garde Music continued
Great Philharmonic Orchestra
Great Percussion Orchestra
label: Dissonance in Excellence
total playing time: 6907
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So, today we have
the grotesque case that most creators and producers of simple light music
have a more intuitive, natural spontaneous insight into the laws of harmony
of the microcosm of music than the interpreters of classical music. And therefore
they are themselves healthier and their performances more successful with
the general public, for every human being bears the harmonical inside himself,
and therefore sees the non-harmonical as foreign to his nature.
If the players of light music interpret any sort of music by the great classics,
then these music pieces will most probably be more successful with the general
public than their own light musical creations or than the corresponding classic
productions by the archetypal classic interpreters.
The reason for this is that the player of light music is usually a true musician,
and the classical musician an educated academic interpreter. The sales figures
in the music industry prove that this thought is correct. And it is only natural
and understandable that it should be so.
On the basis of his relative failure with the general large audience, the
academically educated interpreter of classical music, but unfortunately also
the usual creator of avant-garde music believes he has to look down on the
creator and producer of light music who hasnt studied at a college,
but is much more successful with the general audience with a sort of
The creator and interpreter of simple light music, however, is completely
absorbed in his love of music which he practically produces just like
that and in the glory of his artistic success with the audience. And
he doesnt even look at the academic professional musician and composer,
for his audience isnt there, nor does he see what he himself, in his
simple natural way, regards as a musical gift.
He sees the archetypal classical professional musician more like a monkey
who, after years of hard training plays tones from a sheet of paper
just like a computer and only basks in the fact that this is the work
of a great classical tone creator whose musicality, however, is indeed also
appreciated by the simple folk musician probably much more so than
by the educated classical professional musician.
But all music-life feeds on this source of unspoiled, simple appreciation
of music, the German, too.
And that is why general great success lies here if you leave aside
the manipulation of commercial exploitation by the large record companies
and concert enterprises.
It is true that today the creator and producer of music, which in a simple
way and above all independently and quite spontaneously intuitively orientates
itself towards the laws of harmony of the microcosm of music, is not officially
at the top of music-life, but at least with justification from an economic
point of view. Better 10% self-orientation and brazenly light music than 0%
self-orientation and classic - and as time progresses, my opinion is
JOURNALIST: And what about harmonical
music in this context?
PETER HÜBNER: Harmonical music is
this systems natural expansion of spontaneous insight into the laws
of harmony of the microcosm of music, and the linked creative act. If so-called
harmonious music is shaped by an intuitive insight into the natural laws of
harmony of the microcosm of music, then so-called harmonical music demands
an increasingly more conscious insight into the harmonical conditions of the
microcosm of music. The path from so-called harmonious music to harmonical
music is therefore a path of further insight into the laws of harmony of the
microcosm of music, and on this path of knowledge classical music, for instance,
is formed at some time or other first and foremost, by the way, is
Johann Sebastian Bach.
© AAR EDITION INTERNATIONAL 2000