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” 
 
Entering the True World of Music


    
 
Only this in­ner in­sight into the mu­si­cal sound-space, now enli­vened in mani­fold ways, can open up the true world of mu­sic to the lis­tener.

  
The Listener’s Insight into the Inner Life of the Musical Sound-Space
  
 
So far, the paramount im­por­tance of this in­wardly un­fold­ing mi­cro­cosm of the mu­si­cal sound-space has not been real­ized at all by the ex­perts in mu­si­col­ogy – even though it is this subtle di­men­sion of mu­si­cal poetry in par­ticu­lar that en­ables the virtuoso to por­tray life.

  
The Subtle Dimension of Musical Poetry
  
 
The dis­tance be­tween each of the over­tones is the means for struc­tur­ing space, and the rhythm, in which the over­tones struc­ture the mu­si­cal sound-space, is the means for struc­tur­ing time.
Thus, in the mi­cro­cosm of mu­sic, the rhyth­mi­cal struc­ture is as­so­ci­ated with time and the in­ter­val struc­ture with space.

  
The Musical Means for Structuring Space and Time
  
 
In the gross, outer mac­ro­cosm of the com­po­si­tion, rhythm and in­ter­val are not able to ex­press space and time suf­fi­ciently and to re­al­is­ti­cally dis­play an in­te­grated space-time re­la­tion­ship within the lis­tener.
This re­quires com­po­si­tional power over the mi­cro­cosm of mu­sic, i.e. the in­stru­men­tal con­trol over the me­chan­ics of over­tones – the world of subtle sounds which, be­cause of their high level of en­ergy, di­rectly touch the in­ner power of imagi­na­tion within us lis­ten­ers.

  
Controlling the Rise of Space and Time in Music
  
 
When ob­serv­ing our solar sys­tem from an­other solar sys­tem in re­spect to its struc­ture, one would proba­bly, due to the great dis­tance, only rec­og­nize the plane­tary orbits but not life it­self – be­cause at such great dis­tances the liv­ing enti­ties of our uni­verse are hid­den from the view of the spec­ta­tor.

  
The Distance of the Listener to the Live Elements of the Musical Universe
  
 
In mu­sic we find a cor­re­spond­ing case in the con­ven­tional in­stru­ment sound as it is rou­tinely pro­duced by to­day’s con­ven­tion­ally trained per­fect in­stru­men­talist.

  
The Musical Field of the Unlively
  
 
Be­cause of the con­ven­tional, in­stru­ment-ori­ented pro­duc­tion of sound the acous­tic-men­tal dis­tance of the lis­tener to the mu­si­cal sound-space, to the in­di­vid­ual tone, be­comes so great that he does not even ex­pect an enli­vened world of its own within the in­stru­men­tal tone, just as, when look­ing from an­other solar sys­tem, one is un­able to imag­ine that our small earth has room for so many in­di­vid­ual hu­man destinies.

  
The Acoustic-Mental Distance of the Listener to the Musical Sound-Space
  
     
     
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  With kind permission of AAR EDITION INTERNATIONAL
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