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
Substantial, Holistic
Enlivenment
of Music
The Instrument Characteristics
in the Making
Enlivening the Overtone-Spectrum
The Compressed Tone
The Sound Gains Control in the Acoustic Space
The Inner Enlivenment
of the Sound
The Second Dimension of the Composition
in the Tone
Modern Sound Production
The technology of the Dynamic Space Stereophony is like nourishing the root, resulting in a substantial, holistic enlivenment of the tree of music.
In
conventional music, the character of an instrument appeared as an explicit
timbre – which resulted from the fixation of the spectra of overtones
in our conventionally limp use of the instrument. Today, with the technology
of the Dynamic Space Stereophony, the most diverse timbres now appear in multi-dimensional
forms.
As if stretched out in space, the spectrum of overtones moves as if breathing,
and displays a life of its own, thought impossible so far.
Imagine a bouquet of flowers, compressed almost to a point. One could hardly distinguish the colours, let alone recognize any spatial structure. This corresponds to the conventional instrument sound.
The
virtual opposite takes place in Dynamic Space Stereophony. The so-called instrument
characteristic, the individual sound of the instrument, for example the fixed
sound of a violin, is stretched out in space in its individual overtones.
This is accomplished by dividing the tone of the violin into its overtones
and assigning them their respective places at various points in the acoustic
space.
This technique alone, however, would only mean to give a spatial structure
to something which is dead.
Therefore, one now “breathes life” into the sound of the violin. To do so the individual overtones are set into a playful motion with each other, as we know it from the course of the stars.
Thus, a new world of composition arises in the inner world of the sound, in the microcosm of music.
Directed by the pattern of the compositional logic, the individual sounds of the overtones are interwoven with each other in space and are enlarged, reduced, engrossed, and refined, so that from within a new inner composition permeates the old outer composition, and creatively enlivens it.