These outstanding personalities we know as our great musical creators. But also, this “autobiography of music” is a landmark of the generation of a new age, a generation which today, with scientific accuracy, penetrates into the mechanism of musical creativity, systematically performs research on it, and wants to authentically capture the art of our great masters of music. The first sense of achievement of the modern music student, then, lies in the development of his ability to listen to music creatively – that ability which since all times represents the timeless, true inner basis of the art of sound. Zitat
Reference
work: Peter Huebner – Natural Music Creation – Music Theory ©
AAR EDITION INTERNATIONAL 1982
Music Beyond the Musical Sound-Space...
Original Classical Music
The Playful Mastery over the Inner-Human Forces
Music
as a Force
of Nourishment
Conventional Technology
New Discoveries
The Field of Human Cognition
The Technology of Human Forces
The field of teaching classical composition is not the field of music but rather the technique of skilfully handling the inner- human world of feeling and thinking: in the art of turning, within ourselves and within others, wrath into joy and depression into happiness.
Original
classical music describes the playful mastery over the battlefield of our
inner-human forces at the height of divine accomplishment. By demonstrating
to us listeners the skilled, ethically pure handling of the powers lively
within us, it inspires us to unfold our own character towards natural joy
of life.
No other medium can define an inner-human quality so clearly as a musical
motif, because the musical motif encompasses our world of feeling and understanding,
and is capable of enlivening space and time in an integrated manner.
Here music proves to be the appropriate, unequalled, mental nourishment for the objective understanding of our human qualities, but also as a lively tool to individually gain mastery over our inner world of feeling and understanding.
In the analysis of motifs as well as of the motif-technique, the conventionally trained music analyst wants to understand tones only by quantity, by measuring their outer “weight” – just as if a biologist would only weigh the bones of a living man, even though the weight of our bones contains only little information about our practical life.
In general, the new scientific methods of research define the creative criteria of a discipline far more precise. Therefore the listener of today is no longer content with only an outward approach to an actually inner subject matter, and thus demands an adequate inner vision from the music analyst.
By concept, music analysis then is no longer only an outer study but, first of all, the systematic investigation into the field of our inner-human knowledge.