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” 
 
Freedom of the Musician


    
 
As stated ear­lier, the com­poser origi­nally does not bind him­self to an in­stru­ment-spe­cific tone but rather thinks,
“How can the mu­sic I have heard within be pro­duced out­side?”

  
Control over the In­stru­ment-Specific Sound
  
 
With re­gard to the in­stru­ment, the con­ven­tional prac­tice of play­ing and per­form­ing fol­lows the path of least re­sis­tance
of the in­stru­ment, but it does not win the deep trust of the lis­tener.

  
Bondage of the Musician
  
 
This is why, dur­ing the last cen­tu­ries, mu­si­cal forms were changed rap­idly. Through ever new mu­si­cal or­ders the com­pos­ers wanted to in­spire the per­for­mers to seize con­trol – a natu­ral mas­tery – over their in­stru­ments and thus hoped to free them from the dust of life­lessness.

  
The Conventional Means for Gaining Control over the Instrument
  
 
The fact that Wagner’s or­ches­tra, for in­stance, sounds dif­fer­ent from Beethoven’s or­ches­tra – even if their re­spec­tive mu­sic is played by the very same or­ches­tra, is sim­ply the ex­pres­sion of the com­poser’s in­ces­sant strive to en­cour­age the mu­si­cian’s mas­tery over his in­stru­ment; for, some­one who does not mas­ter his in­stru­ment with his mind may well pro­duce sounds but not liv­ing mu­sic. And some­one who does not truly want to mas­ter his in­stru­ment is not fit for a mu­si­cian – a fact which is con­firmed by many in­stru­men­talists who retire early from prac­ti­cal mu­si­cal ac­tiv­ity and be­come mu­sic “edu­ca­tors” or con­duc­tors.

  
The System of New Musical Orders
  
 
Suc­cess­ful mu­si­cal edu­ca­tion, how­ever, is based on per­sonal ex­ample.

  
True Musical Education
  
     
     
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  With kind permission of AAR EDITION INTERNATIONAL
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