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