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The Systems of
Order in Music


in Understanding as Reflected by Language

The Beginnings of
Musical History

New Sound Composer
of the 20th Century and the
Range of Intervals

to the Transcendental
Play of Music

Musical Insight into the Culture of Peoples

Musical Relationships

The Musical Path
to Self-Knowlegde



The Counterpoint

The Threefold Perfect
Form of the Harmony

Relations in Music


Peter Hübner
Founder of the
Micro Music Laboratories




  The Systems of Order in Music
Relations in Music

From the ex­is­tence of eve­ry one of us we natu­rally deduce that there is a mother who has given birth to us. When­ever we see an in­di­vid­ual we know he has a mother, even though we may not see her.
This in­sight is the ex­pres­sion of a natu­ral prin­ci­ple, and we deal with it very natu­rally.

Understanding the Musical Relation between the Motif and the Sequence
The same ap­plies to the se­quence. When the world of mu­si­cal mo­tifs is ex­plored, one can deduce the ex­is­tence of the se­quence, this mother of the mo­tifs, even if it is not read­ily visi­ble.

In the same way as moth­er­hood can truly be iden­ti­fied only by the child and the mother them­selves, the moth­er­hood of the se­quence can only be iden­ti­fied by the motif and the se­quence. The lis­tener will only rec­og­nize this mother-child re­la­tion­ship of se­quence and motif if, on the level of feel­ing, he suc­ceeds in com­pletely tuning in or con­cen­trat­ing on the motif or the se­quence re­spec­tively, or on both.

Then he will rec­og­nize the mother – the se­quence – through the eyes of the motif. He will rec­og­nize the se­quence by iden­tifying the main force which pro­motes, pro­tects, and guides the motif on its jour­ney through the melody.

An outer way for in­tel­lec­tu­ally rec­og­niz­ing the se­quence by means of the un­der­stand­ing does not exist.

Fur­ther we may infer: to per­ceive the har­mony from the point of view of the se­quence means the di­rect knowl­edge of the prin­ci­ple of fa­therhood from the point of view of the mother; and to per­ceive the har­mony from the point of view of the motif would mean the knowl­edge of the es­sence of fa­therhood, from the point of view of the child.

Understanding the Musical Relation between Sequence and Harmony
Only some­one who suc­cess­fully went these paths of knowl­edge can reach a point where he sees through the eyes of the fa­ther and ex­peri­ences the feel­ing of life-cre­at­ing fa­therhood in a ho­lis­tic sense, how through the eyes of the fa­ther the mother and the child are enli­vened, sus­tained, and guided out into the enli­vened world, and lead back again into the world of life it­self.

The se­quence also hands the mo­tifs over to the care of an­other se­quence so that the chil­dren of the com­po­si­tion may con­tinue to un­fold in the next world.

Here, the se­quence seems to change its ap­pear­ance, yet in its es­sence it re­mains ever the same: the femi­nine em­bodi­ment of har­mony.

The Function of the Mother in Music
The mo­tifs see the new face of the se­quence from their own, in­di­vid­ual point of view, and by this fresh sight they are in­spired to mani­fold new ac­tiv­ity in their new world.

When­ever their in­di­vid­ual ac­tivi­ties move to much apart to­wards dis­har­mony and thereby tend to dis­in­te­grate, and when the world of the se­quence, in which the mo­tifs are now mov­ing about, has lost its natu­ral at­trac­tion and also its in­te­grat­ing ef­fect (oth­er­wise the mo­tifs would not pre­domi­nantely strive apart and tend to­wards dis­har­mony), then through the power of har­mony the se­quence radi­ates a strong in­flu­ence to­wards the mo­tifs.

Through this in­creased radi­ance the se­quence at­tracts its “chil­dren,” the mo­tifs, back to it­self and guides them to the fol­low­ing new world – to the new se­quence: to it­self – in its re­ju­ve­nated ap­pear­ance.

The Musical Presentation of the Familiar Human Life
This in­sight, too, only con­firms the un­der­stand­ing that clas­si­cal com­po­si­tion in es­sence is not at all of s

The Roles of the Family Members in Music
pecifically mu­si­cal na­ture. Reach­ing from the deep, in­ner si­lence to the outer sound-spaces, it sim­ply rep­re­sents hu­man life as we know it.

The world of the har­mony is hap­pi­ness rest­ing within it­self; all-unit­ing love is the es­sence of the se­quence. The life-force hid­den in the har­mony is the enli­ven­ing na­ture in the mo­tifs which per­me­ates the world of mu­sic in a mani­fold crea­tive and all-re­ju­ve­nat­ing man­ner.

The Function of the Father in Music
The motif-tech­nique, the se­quence-tech­nique, and the har­mony-tech­nique reside in the world of har­mony in the form of ab­stract prin­ci­ples, and sus­tain those laws ac­cord­ing to which the har­mony ex­pres­ses it­self, reach­ing to the world of sound.

The Custodians of Law in Music
In this con­text, the motif-tech­nique, the se­quence-tech­nique, and the har­mony-tech­nique are the in­te­grat­ing ele­ments, the cus­to­di­ans of law: the con­necting links of mu­sic.

Their dif­fer­ent po­ten­tials of or­ga­niz­ing power brings about the iride­scent, col­our­ful splen­dour of the mo­tifs, melo­dies and se­quences; and from their pro­found in­te­gra­tion they gen­er­ate the pure form of beauty in mu­sic.

  With kind permission of AAR EDITION INTERNATIONAL