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

The Unalive, Undynamic Sound

Strong Basic Tone, Weak Overtones

Limits of the Conventional Instrument Characteristics

Beyond the Subtle, Artistic, Musical Performance

The System of the Conventional
Presentation of Sound

As In the conventional use of an instrument the basic tone is considerably louder than the overtones connected to and built upon it. Therefore our faculty of discrimination neglects the spectrum of overtones in favour of the basic tone, and we never clearly experience the pattern of the overtones – the true world of the musical sound-space.

It is like standing in front of a loud ship’s siren, next to which quiet music is played from the radio: one no longer hears the music but only a slight colouration in the sound of the siren.

In the conventional way of playing an instrument this mixture of siren and radio is what we call the sound of the instrument, and the respective timbre of the instrument then results from the respective radio programme.

Such an instrument technique is as far from the true mastery of an instrument as this siren-radio mixture is from a subtle, artistic musical event.

Moreover, the listener does not perceive the individual overtones separate in space and therefore misses the experience of space from the very beginning.