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MUSIC
R & D
R & D
PART I
PART I
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The Origin of the Art of Sound

The origin of music is at the origin of our human thinking, where our feeling and our understanding begin. It is also where our hearing begins, for the inner hearing originates where the world of our thinking begins.

Accordingly, the origin of music is not at all of historic nature, but it is permanent, ever-present; it is the "Now," embracing past and future.

Music arises in man from the level of the common origin of feeling, understanding, and hearing. With his sense of hearing, his inner ear, the musical creator pursues the thought that is rising from the silence of his heart, and by surveying it with the help of his sense of hearing, he comprehends its musical structure.

During this process of surveying, his intellect, on the level of his inner feeling and on the level of his understanding, registers the experience of his sense of hearing, evaluates it and takes corrective decisions for the course of the musical event:
This, really, is the field of practical composing.

Initially, the composer does not hear a finished thought – i.e. with his sense of hearing he does not survey a thought that is already produced. From the very beginning already, at the origin of a thought, he decides deep within himself, what and how he will think.

Accordingly, for the musical creator, the inner tone or sound, perceived with his sense of hearing, already is the end of his composing, not its beginning.

Surveying the mental musical event with his inner sense of hearing not only serves the musical creator to personally verify, but also to enjoy his inner concert.

 

                                                                                

 


© AAR EDITION INTERNATIONAL 1982

 

 

 

P E T E R   H Ü B N E R  –  N A T U R A L   M U S I C   C R E A T I O N

NATURAL
MUSIC CREATION

I.
THE CLASSICAL TEACHING SCOPE
OF MUSIC

The World of
Enlivened Silence

The Origin of the
Art of Sound

Responsible
Authorship

The Firmament
of Music

Creative
Music Listening

Writing Down
the Score

The Conventional
Practice of Notation

The Error of the Interpreter

The Language
of Truth

THE PROCESS OF CREATING MUSIC
ü