AAR EDITION INTERNATIONAL – R & D
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R & D
EDUCATIONAL
MUSIC
THE
FORCE–FIELDS
IN MUSIC
The Musical Performers and Their Laws
The Motif
The Masculine & the
Feminine Musical Motif
Training the Free
Formative Will
Motif-Recognition
Motif-Technique
Power &
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
 
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The Differentiated Apprehension
of the Power of Harmony
Educational Music – R&D                                continued 29
The Systems
of the Overtone-Mechanics,
the Motiv-Technique,
the Sequence-Technique,
and the
Harmony-Technique


The Inner-Human Path of Realization


The Dual Musical Structure of Order

Mastership of the Musical Creator over the Created Composition

 

 

 

 


Power Relations in the Musical Force-Fields

 

 

 

 

 

 

 



Criteria for the Complexity and the Degree of Subtlety

Basically, it is the harmony which directly reveals itself in the tone, in the motif and in the sequence. But the differentiated apprehension of this direct power expresses itself in the systems of the overtone-mechanics, the motif-technique, the sequence-technique, and the harmony-technique.

Deeper and deeper insight into more comprehensive musical orders gives the musician, as well as the listener, ever more fulfilling knowledge, and thus transforms the music listener into a music lover.

Thus, the various "horizontal" systems of musical order appear merely as outer expressions of the secret "vertical" sovereignty of the harmony.

On the other hand, from this "vertical" viewpoint the understanding arises that:

Thus, from of a superior order the world of the sound-space is ruled by the world of the motif:

From the state of greater subtlety, the motif permeates the musical sound-spaces from within:

From the state of even greater subtlety, the sequence permeates the motif-spaces from within:

From the state of greatest subtlety, the harmony permeates the sequence-spaces from within:

These are the two fundamental angles under which to consider the inner musical order:
The horizontal angle, mentioned earlier, takes the outer size of the respective systems as the criterion to gain knowledge; the vertical angle takes the degree of musical subtlety as the criterion to gain knowledge.





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© AAR EDITION INTERNATIONAL 1982