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 Musical-Artistic Objective

General Human Insight of the Practical Musician

The Listener’s Encounter with Infinity

The Perfect Music Listener

The Infinite Accomplishment in the Musical Art

The Infinite Process of Perfect Musical Integration

The Musical Path of Human Self-Realization

The Cultural Achievement
of Music

The Natural Potential of the
True Artist

Music The musical-artistic objective originates from the natural potential of the artist:

to realize a truth

to mould a truth into the poetical form of the artistic expression

to make a truth in the poetical form of the artistic expression universally understandable

to express a truth musically only if its revelation is desired by nature; that is, if it is deeply desired by man.

So, the practical musician must not only have a deep understanding and make it available to his fellow men, but he must also know very precisely what his neighbour really needs – not what he superficially wants, i.e. he must first know the current state of knowledge and insight of his fellow man.

If his fellow man is not living infinity with his feeling and understanding then the artist must first give him the taste of this reality and inspire him to confidently attain unbounded awareness.

If the listener is already established in infinity, the artist must glorify the diversity of life in unboundedness for him.

In the first case, when the artist is obliged to inspire the listener of limited thinking for unboundedness, the composition must display a continuous flow from the bounded to the unbounded.

In such a composition the motifs will continually unfold into melodies and will be led systematically by the infinite guidance of the melody into unbounded lively silence.

On their path of life, therefore, the melodies will transform into sequences; and the sequences eventually will assume the infinitely manifold form of harmony itself.

Thus, in such a composition, the concrete musical sound-space, as we perceive it with our inner hearing, is continuously refined and transformed step by step into the phenomenon of our human conscience.

Only from here can the composition enliven the world of silence in the music lover; and the listener realizes his own innermost multiplicity, his innermost manifold form: he cognizes the harmony itself.