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THE FORCE-FIELDS IN MUSIC
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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.

 

                                                                                

 

 

 

 


© AAR EDITION INTERNATIONAL 1982

 

 

P E T E R   H Ü B N E R  –  N A T U R A L   M U S I C   C R E A T I O N

CLASSICAL
MUSIC CREATION

V
THE
FORCE–FIELDS
IN MUSIC

The Musical Performers and
Their Laws

The Motif

The Masculine and
the Feminine
Musical Motif

Training the Free
Formative Will

Motif-Recognition

Motif-Technique

Power and
Powerlessness of Musical Interpretation

Scenes from the
Inner World
of Human Evolution

Integration of Levels
of Creativity

The Differentiated
Apprehension
of the Power
of the Harmony

The Perfection of the
Formative Forces
in Music

The Melody

The Manifold Shape
of the Melody

The Path of the Human Character in the
Musical Form

The Sequence
in Music

The Gate of Harmony
to the Outer Music

 

PART V
PART V