These outstanding personalities we know as our great musical creators. But also, this “autobiography of music” is a landmark of the generation of a new age, a generation which today, with scientific accuracy, penetrates into the mechanism of musical creativity, systematically performs research on it, and wants to authentically capture the art of our great masters of music. The first sense of achievement of the modern music student, then, lies in the development of his ability to listen to music creatively – that ability which since all times represents the timeless, true inner basis of the art of sound. Zitat
Reference
work: Peter Huebner – Natural Music Creation – Music Theory ©
AAR EDITION INTERNATIONAL 1982
The Two Most Popular Categories of Musical Motifs
The World
of the Masculine Musical Motif
The Creative and the Destructive Principle
The World
of the Feminine Musical Motif
The Sustaining Principle
Diversity of the Worlds of Musical Motifs
The Musical Motifs of the Ages
The Masculine and the Feminine Musical Motif
The two most popular main categories of motifs in our known music history are those of the masculine and the feminine motif. They find their perfection in the first movement of the symphony – in the art of the sonata. This first movement, which is always in the form of the sonata, represents the dramatic and playful confrontation of masculine and feminine qualities – the path of mutual human support on the road to happiness.
In general, the masculine theme – ideally representing masculine qualities of the human character – is rather harsh, rhythmically prominent, creatively active, and striving for change.
Thus, the masculine theme embodies not only the creative, constructive principle but also the dissolving, destructive principle.
Its natural counterpart, the feminine theme, is tender, charming and concerned with upholding the existing order. It comforts the masculine theme, which strives for change, and it creates a balancing effect.
Embodying the sustaining principle the feminine theme smoothens the waves of the occasionally rough-edged masculine creativity and thus maintains the natural flow of the composition.
However, the categories of the masculine and the feminine motif are only a part of the world of motifs and do not even represent its highest values.
Just as there are principles superior to the masculine and the feminine element, there are also musical motifs which stand above the masculine and the feminine musical motif.
In different times – in different cultural eras and on different levels of cultural evolution – composers select the musical motifs of their respective time.