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MUSIC
R & D
PART IX
THE SYSTEMS OF ORDER IN MUSIC
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Conclusions from the Understanding and the Presentation of the Musical Sound-Space


Musical Degree of Order and General Human Evolution

 

 

 



Musical Order and Cultural Order

Musical Insight into the Culture
of Peoples

In this terms, the music of different peoples no longer appears as the expression of the separation of entirely different cultures, but rather as an expression of the degree of subtlety in which the natural spectrum of overtones is perceived. And this, in turn, results in different cultures having different methods of presenting the musical sound-space.

Therefore the music of different cultures with their different levels of development shows different perception of the degree of order of human evolution, which again is differently expressed in music.

From this one can conclude that the music of different peoples, or of the same people at different times or at different places, is not different because of an imaginary difference of cultures, but because different levels of human evolution have been reached, and have been expressed in their music.

From this music-theoretical analysis we may further conclude that, as far as musical order is concerned, different cultures do not really exist. There are only higher and lower levels of human evolution which express themselves in varying degrees of musical order.

 

 

                                                                                 

 

 

 

 

© 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

IX
THE SYSTEMS
OF ORDER
IN MUSIC

Tonality

Differences
in Understanding
as Reflected by Language

The Beginnings of Musical History

"New Sound" Composers of the 20th Century and the Range of Intervals

Advancing
to the Transcendental
Play of Music

Musical Insight
into the Culture
of Peoples

Musical Relationships

The Musical Path
to Self-Knowlegde

Homophony

Polyphony

The Counterpoint

The Threefold Perfect
Form of the Harmony

Relations in Music

 

 

PART IX