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 Objective Field of the Physiology
of Music

The Subjective Field of the Physiology of Music

The Effect of the Inner Mental Produc-tion of Music on the Musician’s or the Music Listener’s Physiology

The Physiology of Music as the Outer Image of that which has been Created Within

The Physiology of Music

The physiology of music has two aspects: objective and sub-jective.

The objective aspect of the physiology of music concerns the entire range of the musical sound-space – as far as it does not directly include the field of creativity.

The objective field of the physiology of music includes the knowledge of the thinking process as well as the practical mastery over the mind as a musical instrument – the submission of the mind to the rule of the self-awareness, to the creative will of the musician.

Moreover, the objective physiology of music is concerned with the musician’s imagination regarding the faithful interpreta-tion.

The subjective field of the physiology of music concerns the inner relations of powers of the musical compositional para-meters – the harmony, the sequence, the melody, and the motif – with the musical sound-space, i.e. the junction point of our inner-human powers with our mind.

The effect of the inner mental production of music on the physiology of the musician or on the physiology of the listener therefore does not belong to the field of the physiology of music, but to its ecology.

The physiology of music, the entire structure of the musical sound-space on the level of the mind, is only the outer mental image of that which has been created within: the musical result in the mind of the musical artist. The physiology of music is the true musical premiere which the musical artist surveys with his sense of hearing.