intelligence           creativity               harmony
    
    
a useful connection
AAR EDITION INTERNATIONAL
Site Map
about us
MUSIC
R & D
PART II
THE CLASSICAL TEACHING SCOPE OF MUSIC
a useful connection
science                  music                     art

 

The Basis of Studying Music


Fundamental Expertise

 

 

 

The Testimony of the Great Musical Artists

 

The Great Musical Poets as Free and Independent Teachers

The Secret Science

 

 

The Perfect Personal Performance

 

The Creative Substance


The Secret Student

The Musical Career

The musical career truly begins where music begins. He who really desires to create music, must know how and from where it originates.

It may sound absurd but even the largest part of what is termed "classical music" today is being produced without fundamental expertise, because the official music-training institutions are lacking a system to scientifically investigate, or even teach, the origin of music.

In institutionalized music education the origin of music is assumed to be where the process of the actual creation of music has already ended.
By quoting the great composers of all times, the biographies confirm that not one of them learned composing from outside, from any institution. In fact, they even were often excluded from official studies because of their contempt for the purely superficial standards of musical training.

Therefore, the great musical poets of mankind passed the love of music and the technique of composing quietly and directly on to each other – without the teaching institution as a mediator.

Understandably therefore, the pure science of music was a secret science in which only very few were accomplished – the great composers themselves.
Birth seemed to determine who was to be their disciple, and who was to pass on the knowledge of creating music, with the means of his time, to his own generation.
At one time or another in his life, maybe under the impression of a very poor presentation of a great composition, such a young man would, within his mind, free the masterpiece from the deficiencies of the interpretation, and then experience his own perfect performance.

Such a mental revision meant deleting the aspect of interpretation, and realizing the very substance of the composition.

In this manner, after some practice, the secret talented student had acquired the skill of composing from the great musical poet, and the foundation for his own musical-creative task was laid.

 

                                                                                

 

© 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

CLASSICAL
MUSIC CREATION

II
THE CLASSICAL
TEACHING SCOPE
OF MUSIC

The Technology of Human Forces

The Classical Scope
of Music

The Universe of
Musical Sound-Spaces

Authentic Conveyance
of Truth


The Musical Career

The Creative Craft

PART II