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Refinement of the Playing Technique




Mastery over the Tone Production


Objectice and Subjective Limitations in the Conventional Performance


The Musical Field of Mental Rigidity





Uncreative Tone Generation





The Instrument Rules the Musician



The System of Independently Functioning Machines in Music

Mastery over the Instrument

The physics of an instrument determines its ideal sound – that sound, which exerts the least physical strain on the instrument. Since an instrument is not an individual, and therefore is not a member of any association for the protection of instruments which might want to protect it from possible stresses and strains, the composer may well inspire the performer to refine his playing technique, to expand his inner freedom, to systematically expand, and also to apply, his mastery over the instrument.

This means that the so-called "instrument-specific sound" musically can only express very little meaning, and that it is only a very simple groundstate from where the musician begins to unfold the world of music.

Therefore, the conventional fixated use of traditional musical instruments is a systematic musical restriction: only a fraction of the possibilities of the instruments is explored and applied, and even worse:
the performer, due to this limitation, is deprived of the personal experience of being the mighty master over the world of tones, and consequently never experiences the uplifting feeling of being a true musician.

If the musician leaves the structuring of the sound to the physical structure of an instrument alone, it will only yield a periodical, fixated spectrum of overtones which we identify as the so-called "specific instrument-sound" of conventional music.
Due to the periodicity of its spectrum of overtones the restricted nature of an instrument expresses only mental rigidity (since the instrument itself is dead, mentally rigid), and by the fixation of its sound it only induces the listener to mental rigidity.

The high speed of repetition of the overtone-pattern demands too much from the listener's analytical ability. Due to the excessive flow of information and the permanent repetition of the spectrum of overtones, the sound assumes a fixed character.
Such a sound is retained at the periphery of the mind like in a filter, and does not succeed in penetrating the alert, quick and comprehensive cognizing depths of our mind. Therefore, such an unalive sound cannot stimulate our feelings to lively creativity. Quotation

The listener regards such a tone or sound, created purely from the physics of the instrument, as constant and fixed, and identifies it as the typical sound of the instrument.

Here, the instrument rules the musician; matter rules over mind; the seemingly dead rules over the living.

It is a fatal "realism" of our scientific-technical age to apply the advantages of independently functioning machines to a musical instrument, which was never given such authority by the composer, for his intention was to put the instrument directly and exclusively into the service of the living.







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



The Dimension
of the Tone

Mastery over
the Instrument

Freedom of the Musician

The System of the Conventional Presentation of Sound

Unlimited Potential for
Structuring the Musical Sound-Space

The Fixed Tone

Modern Sound

The Long Forgotten
World of the
Microcosm of Music

Entering the
True World of Music

Musical Sovereignty in
the Inner-Tonal
Planetary Systems

The Inner World
of Power
of the Melody