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

Synthesis of Motif- and Sequence-Technique

The Musical Orders of Power

The Musical Omnipotence
of the Harmony

Musical Relationships

In its systems of tonalities, the world of musical orders contains relationships between sounds as clearly defined as our human social structures. In the melody, the motif-technique portrays the coexistence of the individual with itself, while the sequence- technique portrays the individual’s coexistence with the other members of society.

At the height of accomplished composing, the synthesis of motif-technique and sequence-technique results in an integration of individual and social life, so that, from the individual’s point of view, not only his individual, but also his social life is covered completely in this perfect musical presentation.

The sequences determine the different social structures of the motifs – from small to large, from family to society and even larger; they provide the individual motifs with the fullness of the world of unboundedness – from the infinity of the harmony; for the sequences are the multifarious expressions of the harmony, this one great father of all the motif-children who in the worlds of sequences appears in a manifold motherly form – as a noble, loving guide on their great path of individual unfoldment.

Here the composition, in the diversity of its systems and structures, only elucidates the inherent omnipotence of that one great harmony which is the basis of all sequences, all melodies, all motifs, and all tones, but also of all musical sound-spaces, and which for the entire musical event is nothing other than the manifold play of itself with itself and within itself – for the attentive listener music per se.