JOURNALIST: You call the musical development of the past hundred years an “unnatural development”, how can you ex­plain that?

PETER HÜBNER: Unnatural, because it disregards the natural laws of harmony of the microcosm of music – i.e. it infringes on the natural laws of development which nature applies to the structural development of a tone and a sound.^Cellini

And with this disregard of the natural laws of tone and sound design of the microcosm of music, the “new toner” injures the natural function of essential areas necessary for conveying music:^Duerer

On the one hand, the function of our inner ear which orientates itself entirely on these natural laws of tone and sound design – an absolute pre-condition for the deaf Beethoven ^Beethoven for creating music from the middle of his life onwards;

on the other hand, the function of our outer ear, whose origin is completely orientated towards these natural laws of tone and sound design, and even structures our hearing organ – as modern science has recognised – according to these laws of harmony,

then the function of our human voice which is also conceived to consider these harmonical laws of design, and finally

JOURNALIST: What consequences did this insight have for you?

PETER HÜBNER: For me it was clear that for these reasons, the development of atonal compositional techniques were abortive developments from the point of view of nature.

This knowledge was by no means easy for me; because all those who believed to be at the “top” of a musical development as acknowledged avant-gardists, paid tribute to these abortive developments.

During the serious musical operations of that time, a rejection of this unnatural orientation of the new toners towards harmonical compositional structures was considered the same as returning to the “stone age of music”, and meant the same as the “over” of the outer professional “career” as a composer – if you aspired to have such a career.

JOURNALIST: And the entire modern music world was misled?

PETER HÜBNER: Well, after all, since Arnold Schönberg, singers and musicians all over the world should perform “contemporary music” with their voices and instruments which is structurally conceived without consideration of natural laws of sound and tonal development, and which therefore, during performance, faces the fiercest resistance of the human voice, as well as the musical instruments, and which accordingly, sounds so terrible to many people’s ears.

Following my registration at the music academy in Cologne, I myself, as a modern “avant-gardist” was at first misled.^Goethe

But then, it became clear to me that my “negative”, sharp musical criticism of the outdated, corrupt structures had been supported – if not even decisively shaped – by a kind of music that structurally was not orientated towards the natural laws of harmony of the microcosm of music, and which logically only aims towards destruction, well, even trains humans in the mechnisms of destruction, by educating his thoughts structurally to follow destruction.^Hebbel

Thus, at the time, my research into the microcosm of music led me clearly and unambiguously to the realisation that atonal twelve-tone music, and the linked serial music of all those who saw themselves supposedly as continuing classical music – a great error – train the individual musician and through him, the individual listener, tonally in the mechanisms of unnaturalness.

JOURNALIST: And how do you see the effect of light modern music?

PETER HÜBNER: The whole of light music from soft music to hard rock, does the same mainly with the help of fixed rhythmical structures.

What a devastating effect i.e. rock music has on natural proc­esses of life, is seen in the re­search re­sults of Ameri­can doc­tors, who have found out, that rats that grow up with rock mu­sic, in com­pari­son to their conspe­cifics, which grow up in a sound en­vi­ron­ment, natu­ral to rats, are so to speak psycho-logi­cally de­stroyed, and in the end, even show physio­logi­cal deformities in the brain.