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MUSIC
PART VII
SPACE AND TIME IN 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

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The Listener’s Glimpse of Musical Evolution

 

 

 

 

 

The Seed of the Magic of Music

 

 

 

 


Rhythm as a Means to Glorify Tonality

 

Tonality as a Means to Glorify Rhythm

P E T E R   H U E B N E R  –  N A T U R A L   M U S I C   C R E A T I O N
O U V E R T U R E
The Book

CLASSICAL
MUSIC CREATION

VIII
SPACE & TIME
IN MUSIC


The Concept of Space
in Music

The Two Ways of Experiencing Space

Space-Experience in
the Microcosm of Music

Space-Time Integration in Music

Space-Time Fusion through the Integration
of the Musical Spaces

The Integrated Play of
Time and Space

The Potential of the
Musician

The Relationship of Rhythm and Tonality

Field of Cognition –
Enlivened Silence

The Core of Practising
the Art of Music

Conventional and
Modern Mechanisms
of Musical Performance

Field of Cognition – Enlivened Silence


Here the realm of knowledge-giving silence is reached, from where the truthful artist creates music for his own sake as well as for the sake of his listeners; for his own sake, because this kind of natural creativity means an upsurge of inner bliss within the artist himself, and for the sake of the listener, because within the listener, too, the experience of such natural, inner human activity is evoked which brings happiness and joy.

The listener then succeeds in getting a glimpse of the potential of natural, inner human evolution; and the desire to gain mastery over this happiness-giving field of life naturally awakens within him.

This starting point of inner human creativity, in which tonality and rhythm are fused into unity, is the very beginning of music.

This beginning without end is structured in the consciousness of the listener by the musical integration of unbounded space with infinite time, and a mental state of suspension is attained: an expression of twofold unboundedness.
Here lies the seed of man’s love of music - of man’s love of life.

Thus, rhythm is not at all the means for the isolated structuring of time in a composition, but according to the much more sophisticated views just outlined, rhythm is the only appropriate means for the glorification of space.

On the other hand, tonality is not an isolated musical parameter but the only appropriate means for the glorification of time.

This is the explanation for the intimate union of space and time in music.

                                                                                 

 

© AAR EDITION INTERNATIONAL 1982

 


PART VII