HALL OF HARMONY CONCERTS
 

 
The Principle of Dynamic Space Stereophony®   –   Peter Hübner “The Physics of Music”
Excerpt from Peter Hübner's Book: “Natural Music Creation” 
 
The Dimension of the Tone


    
 
The world of the tone, even of the tone we hear inside with our in­ner ear, is the ob­jec­tive sphere of mu­sic, its outer shell. This tone may be struc­tured as sim­ple and un­in­tel­li­gent as the ele­ments in the field of matter, or as com­plex and in­tel­li­gent as the physi­ol­ogy of liv­ing be­ings – de­pend­ing on which mu­si­cal spirit abides within the tone, which mu­si­cal struc­tural means enli­vens it from within, and which de­gree of or­der it embod­ies.

  
The Physics of the Tone
  
 
Thus, the tone is the body of the mu­sic – but not the mu­sic it­self.

  
The Organism of Music
  
 
The or­gan­ism of the tone is its in­ner to­nal­ity, and the po­ten­tial of the tone ap­pears in its over­tone-me­chan­ics.

    
 
Mo­tifs are the enli­ven­ing in­ner forces of the or­gans of the tone – the ele­ments of to­nal­ity.
Here, in the world of the mu­si­cal sound-space, the sub­jec­tive and the ob­jec­tive sphe­res of mu­sic meet:
ob­jec­tive – with re­gard to the phys­ics of the tone, its over­tone struc­ture;
sub­jec­tive – with re­gard to its in­ner so­ci­ol­ogy, its in­ner for­ma­tive forces, e.g. the mo­tifs.

  
The Tone as the Medium of the Subjective and the Objective Spheres of Music
  
 
Thus, on the level of the mi­cro­cosm of mu­sic, to­nal­ity is the natu­ral link be­tween the sub­jec­tive and the ob­jec­tive sphe­res of mu­sic.

That as­pect of to­nal­ity which sounds is the gross “ma­te­rial” body of mu­sic, and that as­pect which does not sound is the subtle, the “imma­te­rial” body of mu­sic – which, how­ever, is the basis of the gross sound­ing body, be­cause from it the mu­si­cal ideas of the com­po­si­tion flow into the sound, thus turn­ing it into mu­sic.

  
Tonality as the Link between the Subjective and Objective Spheres of Music

The Tonality of Music in the Tone
  
 
In the con­ven­tional per­form­ance we know the so-called sound or tone of an in­stru­ment.
Physi­cally, its sound-spec­trum is based on pe­ri­odi­cally os­cil­lat­ing over­tones, and this in­stru­ment sound is sup­ported by the mu­si­cian who, when pro­duc­ing a sound, leaves the in­stru­ment pre­domi­nantly to it­self. This is also called pro­duc­ing “in­stru­mentspe­cific sounds.”

  
The Generation of Tones in Conventional Performance
  
 
How­ever, dur­ing his in­ner mu­si­cal crea­tive proc­ess the com­poser does not bind him­self to the sound of an in­stru­ment but rather thinks, “How can the mu­sic that I just heard inside be gen­er­ated out­side with in­stru­ments?”

  
The Original Tone-Concept of the Composer
  
     
     
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  With kind permission of AAR EDITION INTERNATIONAL
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