Aar Edition International, Control over the Composition, Peter Huebner, Natural Music Creation, The inner Mechanics of creating Music

The Book “Natural Music Creation” is a document and – according to the author – it stands as a token of gratitude to all those great talents or even geniuses who, out of their innermost love for the art of sound, kept the inner reality of music alive throughout the times.

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

Balance of the Heat and the Cold-Producing Devices

The Coordinating Power of the Musical Creator

The Direct Leadership of Performance by the Inner Musical Creator

The Listener’s Impression of Perfect Music

Control over the Composition

However, this integration of feeling and understanding is so vital to the musician for yet another reason: a balanced relationship between the warming force of the feeling and the cooling force of the understanding within the composition – so that the listener is not overthrown by uncontrolled ice-cold or glowing-hot waves, which would unneccessarily shock his inner perception.

Therefore, it is a further fundamental step in practical music education to develop the coordinating power of the intellect which takes a harmonizing, mediating position between the integrative feeling and the differentiating understanding, and which furthermore keeps the musical elements together as well as apart – those elements which have been distinguished from one another by the power of differentiation.

This will be the systematic, scientifically founded cultivation of the coordinative functioning of our intellect.

Without this aspect of coordination between the feeling and understanding, and without its well-directed application under the direct guidance of the self-awareness, the musical artist is not able to compose in a harmonizing, holistic and meaningful manner, because:

with the aspect of intellectual understanding dominating, the composer would tend to prefer dissonances, that is, variety at the expense of unity, and the result would be, for example, the clean construction scheme of serial music as an extension of the twelve-tone music – dissonant, lifeless, unpleasant;
with the aspect of feeling dominating, the composer would tend to prefer simplicity, that is, simplicity at the expense of multiplicity, and the result, for example, would be shallow entertainment music – consonant, uncreative, sentimental.

Only the integrated application of feeling and understanding by the composer and by the performer will create an enlivened impression of perfection within the listener.

For the music-lover this revelation of perfection is truly fulfilling and convinces him of the divine spark within man. Thereby he gains an inner, general, human stability, and personally unperturbed by doubts he gains insight into the potential of human-divine freedom.