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Peter Hübner
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Faculty of
MUSIC & MUSICOLOGY
Theoretical Fundamentals

UNIVERSAL
MUSIC THEORY 1

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

 

 

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UNIVERSAL MUSIC THEORY 1
The Practical Fundamentals of Universal Creativity
  PART   V            
  THE PROCESS OF CREATING MUSIC            
         
 
The Sequence in Music


 
 
 
The se­quence is that mu­si­cal force which lov­ingly leads the danc­ing mo­tifs from one se­quence world into the next, in­spir­ing them to new crea­tive un­fold­ment in a har­mo­ni­ous man­ner, so that all the mo­tifs, al­though striv­ing apart and back to each other in many ways, still travel through each new world col­lec­tively and – with the help of the se­quence – enter ever new di­men­sions of mu­si­cal un­fold­ment.

 
The Journey of the Musical Motifs
 
 
At each tran­si­tion from one se­quence world into the next, the full beauty of the form of the se­quence ap­pears par­ticu­larly dis­tinct. Like a mother, it guides the mo­tifs – col­lects them in the old world, en­cour­ages them to enter the new world and, through the charm of its moth­erly beauty, gives them con­fi­dence to ad­vance with­out fear into the new land of the next se­quence; be­cause, to the “chil­dren” (the mo­tifs), the new se­quence world ap­pears as the mys­teri­ous, un­known sphere of a new gen­era­tion.

 
The Mysterious Unknown Sphere of a New Musical Generation
 
 
The se­quence-tech­nique is that fac­ulty of the mu­si­cal logic which gov­erns the motif-tech­nique from within. In ac­cor­dance with the in­ner for­ma­tive laws of the se­quence-tech­nique, the se­quence stimu­lates the mo­tifs, holds them to­gether, and again soothes them – like a mother tend­ing her chil­dren.

 
Nature and Purpose of the Sequence-Technique
 
 
The se­quence-tech­nique pre­vents the natu­ral or­der of the mo­tifs from disin­te­grat­ing even if the mo­tifs are of op­pos­ing na­ture and even if, in the course of the mu­si­cal event, they con­tra­dict each other ever so much.

 
The Organizing Power in the Melody-Technique
 
 
In the form of the laws of the har­mony, the se­quence-tech­nique con­tains those prin­ci­ples which im­prove the re­la­tion of the mo­tifs among each other.

   
 
The se­quence-tech­nique is the “field of the so­cial laws of the mo­tifs,” while the motif-tech­nique com­prises the in­di­vid­ual laws of the mo­tifs.

 
The Force-Field of the Musical Social Laws
 
 
The se­quence-tech­nique, there­fore, is a natu­ral su­pe­rior or­der of the motif-tech­nique. The motif-tech­nique evolves from the se­quence-tech­nique; it is, in its latent form, al­ready pre­sent within it, and is not later at­tached ar­ti­fi­cially to the se­quence-tech­nique.

   
 
The se­quence is that in­ner life-im­pulse of the com­po­si­tion which unites the mo­tifs so natu­rally as our palm holds our fin­gers to­gether. And as lit­tle as the palm moves when ac­ti­vat­ing the in­di­vid­ual fin­gers, as lit­tle is the se­quence moved even when the in­di­vid­ual mo­tifs are mov­ing apart, or to­gether again, in the mu­si­cal dance.

 
The Discrete Execution of Power of the Musical Sequence
 
 
And due to this dis­crete na­ture of its ac­tiv­ity, the se­quence is not eas­ily iden­ti­fied in the com­po­si­tion.

 
The Musical Sequence as the All-Nourishing Motif Mother
 
 
Thus, the se­quence acts as the all-nour­ish­ing motif mother be­tween the har­mony and the danc­ing mo­tifs, and en­chants the mo­tifs with the quali­ties of the har­mony.

   
 
In a moth­erly way, the se­quence holds the mo­tifs to­gether and har­mon­izes their in­ten­tions which are often striv­ing apart; at the same time, how­ever, it leaves them ex­tremely wide scope for in­di­vid­ual crea­tive un­fold­ment.

 
The Musical Force-Field of the Creative Unfoldment of the Motifs
 
 
On the level of the se­quence-tech­nique, the art of com­pos­ing lies in the se­quence only pro­mot­ing, and never in­hib­it­ing, the free un­fold­ment of the mo­tifs in the course of the mu­si­cal event, and it also lies in the mo­tifs, in­spired by the beauty of the se­quence, al­ways and only liv­ing the natu­ral in­ner power of the har­mony.

 
The Compositional Art of the Sequence-Technique
 
 
The mas­tery over the ap­plied se­quence-tech­nique con­sists of the art of merg­ing the mo­tifs with the har­mony of the com­po­si­tion.

   
 
Thus, the ap­plied se­quence-tech­nique rep­re­sents a more com­pre­hen­sive for­ma­tive will than the ap­plied motif-tech­nique be­cause it acts in a su­pe­rior di­men­sion of a mu­si­cal or­der, in the world of the se­quence, where the in­di­vid­ual mo­tifs are held to­gether on the level of the so­cial struc­ture of the com­po­si­tion.

 
The Musical Formative Will in the Social Field of Music
 
 
In this way, the moth­ers (the se­quences) are serv­ing the fore-fa­ther of mu­sic (the har­mony) by in­spir­ing his chil­dren (the mo­tifs), and by guiding them through the world of mu­sic.

 
Applied Sequence-Technique
 
     
     
                                 
     
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
                                     
                                     
             
     
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