The physiology of music has two aspects:
objective and subjective.
The objective aspect of the physiology of music concerns the entire range of the
musical sound-space – as far as it does not directly include the field of
creativity.
The objective field of the physiology of music includes the knowledge of the
thinking process as well as the practical
mastery over the mind as a musical instrument – the submission of the mind to the rule of the
self-awareness, to the
creative will of the musician.
Moreover, the objective physiology of music is concerned with the
musician’s imagination regarding the faithful interpretation.
The subjective field of the physiology of music concerns the inner relations of powers of the musical compositional parameters – the
harmony, the
sequence, the melody, and the
motif – with the
musical sound-space, i.e. the
junction point of our inner-human powers with our mind.
The effect of the inner mental production of music on the
physiology of the musician or on the
physiology of the listener therefore does not belong to the field of the physiology of music, but to its ecology.
The physiology of music, the entire structure of the
musical sound-space on the level of the mind, is only the outer mental image of that which has been
created within: the musical result in the
mind of the musical artist. The physiology of music is the true musical premiere which the musical artist surveys with his
sense of hearing.
Peter Hübner
