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The Future of Music

Harmonic Information as Medication for Education

The Classical Teaching Scope of Music

The Inner Mechanics of Creating Music

Didactics of Music

The Force-Fields in Music

The Purpose of
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Archetypical Career of the Classical Composer

The Natural Creation of Music by the Classical Composer

Astronomy of Mind


Peter Hübner
Founder of the
Micro Music Laboratories




  Music Education
Archetypical career of the classical composer                       page 1 2 3 4 5
JOURNALIST: So, your lessons at the academy of music in Cologne took place in a cafe in the Aachener Street, am I right?

PETER HUEBNER: Not entirely. At the same time, I had also enrolled with Herbert Eimert who had set up and ran the electronic studio. Participation in his electronic studio required a completed study of composition – he explained to me.

I told him that I did not have such qualifications, but that I could show him a score from a large opera, in which I had realised the principles of his serial musical theory.

So, I left the score with him. After a week he returned it to me, informing me that I could start my work in his studio and realise the electronic part of my opera.

And so every week I met up with the technical director of this studio of the music academy, Gerhard Rautenbach, and together with him realised the electronic music for the opera’s Diogenes-Vision. He was a sensitive man, not at all a typical technocrat, and as such an excellent partner for realising this work.

For Prof. Dr. Herbert Eimert this electronic work was a great success for the studio. He asked me to let him and/or the music academy have the score (approx. 4 m wide and 1.5 m high) and had it hung on the large wall of the studio – where it could not be overlooked by anybody entering.

And year in, year out, he proudly showed everybody who came from the home country or abroad this score.

To me he never uttered a word about this – anyway, he wasn’t a man to talk big, but in my opinion he was a unique thinker.
And the entire avant-garde has so far benefited more from him than they are actually aware of.

He is not only the founder of the first electronic studio in the world (at the “Westdeutsche Rundfunk”, the West German Radio) and the father of electronic music, but, besides Arnold Schönberg and somebody else, he is also one of the three founders of modern serial compositional technique and above all, the person to complete this musical theory.
The notation developed by the composer for the direct connection of orchestral music with electronic music for recordings in Dynamic Space Stereophony.®
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  With kind permission of AAR EDITION INTERNATIONAL