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

Conventional Mu-sic Theory as the Ecology of Music

The Dimension of the Ecology
of Music

The Inner Boundary of the Ecology of Music

The Outer Influence of Music

The Environment of a Piece of Music

The Ecology of Music

In the understanding of this book, the ecology of music encompasses the entire range of what is called “music” in conventional music theory.

The ecology of music concerns the sounding musical event – the music surveyed from outside by the sense of hearing on the level of the mind, and much more even, the musical performance in the concert hall.

So, the ecology of music begins where the composition is already completed, i.e. where the finished musical event resounds on the level of the mind and is perceivable to the inner ear.

The ecology of music also concerns the influence of music on its entire outer surroundings, particularly the musical influence of the mind on its environment.

The ecology of music concerns everything that surrounds the finished piece of music.

And the aspects of the environment of the finished piece of music are: the inner ear of the composer, of the musician, and of the listener, their nervous system, their body, and eventually the whole environment of the musician – the field of material ecology.