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
“Interpretation”
Inspiration for the Unlimited
The Subjective and Objective Sphere of Music
The Objective Sphere
The Subjective Sphere
The True World of Music
Authentic Conveyance of Truth
All
great musical poets expect the interpreter to comprehend their musical–artistic
intention, and to have the desire to serve humanity.
Furthermore, the interpreter must know the meaning of the composer’s individual
message to his listener. Only on this basis is it possible for the interpreter
to transform the musical meaning into a statement which is neither fixed nor
an end to itself, but is only his outer, practical means to convey to the
listener the composer’s specific and musically coded message in a fresh and
authentic manner.
In reality, to the classical composer, music is just the poetic medium for the description of the inner domain of human freedom, to inspire the limited for the unlimited.
An analysis of power shows that music is divided into two large spheres: an active and a passive sphere, a creative and a created sphere, the subjective and the objective field of music. Where the sounds originate, where the world of the musical sound–space begins, there ends the subjective sphere of music, and there begins its objective field, extending all the way to the acoustic event.
This objective field of music also includes the dimension of our inner hearing; because the process of inner hearing includes the thinking of sounds on the level of the mind (i.e., the musical thought), as well as the organ for surveying the thought (the sense of hearing), but also the mechanism of surveying itself (the mechanics of the sense of hearing).
However,
this outer world of thinking is limited in space and time whereas that, which
lies at its basis and generates it, is located beyond space and time and constitutes
the subjective, the creative sphere of music.
If this inner, subjective sphere is not the conscious, natural basis of the
composer’s musical thinking, the musician himself as well as his listener
will be barred from the enlivening, rejuvenating effect of music, from the
immortal nectar of the divine creative spark, and through their sense of hearing
they will experience only the outer product: the world of the objective, the
world of the powerless, the mortal aspect of music – its body.
This clear insight into the subjective and objective sphere of music re-moves music and the creation of music, at their very roots even, from the field of tones into the world of the alive alone – thus prescribing completely new horizons for professional music education. It calls for a systematic training of comprehensive human capabilities which reach into the depth of man’s personality.