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

Principles of Mus-ical Analysis and the Humanities

The Physics of the Mind as a Musical Instrument

The Process of Gaining Knowl-edge in Music

Analysis and Synthesis in the Musical Gaining Knowledge

The Creative Power of Musical Knowledge

The Empirical Gaining Knowl-edge in Music

Gaining Knowl-edge in Music through the Approach of the Natural Sciences and the Humanities

The Cycle of the Natural Sciences and the Humanities in the Process of Gaining Knowledge in Music

The Aspect of Humanities in Music

The humanities in music concern the “spiritual element” in music and the principles of the systematic cognition and description of truths through the understanding.

The human mind is the substance through which the composer makes the music resound for the first time. And the mind, the physics of the mind, is the musical instrument through which the sound is generated.
At the same time, however, the mind is sound itself, the vibrating sound-substance in the form of the movement of waves on the surface of the mind; and the sounding composition is the changing vibration on the surface of the musical artist’s mind.

The gaining of knowledge, as we know it from the humanities is, according to the expositions in this book, an accomplishment of the self-awareness and is achieved by means of its main organ, the intellect.
The self-awareness acquires the knowledge of the meaning of the musical statement through the intellect by means of the qualities of feeling and understanding.

Moreover, the self-awareness translates its inherent knowl-edge into the language of music by means of the faculties of feeling and understanding.
And the expression of this music “of silence” – deep within the conscience of the musical artist – is projected by the composer’s creative self to the surface of his mind, on which his sense of hearing feeds.

“Not willpower becomes creative but fantasy, imagination.”

Richard Wagner

On the one hand music is an “a priori science,” because on the level of the self-awareness, through the power of creativity, knowledge is systematically cognized in its seed form, and – starting from this intuitive cognition – it is projected onto the level of the mind and passed on to the surroundings as an artistic musical event.

On the other hand, however, music has also been described earlier as an empirical science, because the self, through the intellect, systematically surveys with the sense of hearing the music created on the level of the mind, and so experiences – as if from outside – the content of truth in the musical structure of the composition and ascertains its degree of musical mastership.

With reference to the basis of musical creativity, this empirical way of comprehending music could also be called “the comprehension of music through the natural sciences,” and the a priori way of comprehending music could also be called “the comprehension of music through the humanities,” because a priori music is created – by the self, and empirically it is heard – again by the self.

In a complete cycle of the two scientific views the information of the musical event emanates from the creating self and advances through the intellect to the level of the mind, where it is perceived by the sense of hearing and lead back again through the intellect to the hearing self.