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ETHNIC MUSIC

The Science of Music

The Scope of the
Science of Music

The Inner Breath of Music

The Function of the
Inner Breath in Music

The Scientific Aspect
in Music

The Perfect Musical
Description

The Twofold System
of Music Analysis
of the Composer

The Aspect of
Humanities in Music

The True Field of
Science in Music

The Sociology of Music

The Ecology of Music

The Physics of Music

The Physiology of Music

The Economy of Music

Music Critique

Dance in Music

 

Peter Hübner
Founder of the
Micro Music Laboratories

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  The Science of Music
       
 
The Dance in Music


 
 
 
Mu­sic ap­pears in the form of a dance of tones, mo­tifs, and se­quences.
In the imagi­na­tion of a com­poser, these mu­si­cal ele­ments dance in his mind in that same in­no­cent and non-pur­pose-bound man­ner as butterflies dance over a meadow, as waves dance over the ocean, or as the leaves of trees dance in the autumn wind.

 
The Dance of Tones, Motifs, and Sequences
 
 
This dance of the mu­si­cal ele­ments takes place in nu­mer­ous spaces: in the mu­si­cal sound-space, in the deeper and wider motif-spaces, in the even deeper and even more com­pre­hen­sive se­quence-spaces, and in the in­fin­ity of the space of the har­mony.

 
The Dance in the Spaces of the Musical Force-Fields
 
 
The danc­ing move­ments of the mu­si­cal ele­ments flow in the in­fin­ity of time.

 
The Dance in the Infinity of Time
 
 
The hi­er­ar­chy in which the danc­ing mu­si­cal pa­rame­ters move is com­pletely de­ter­mined by the laws of the har­mony.
Thereby, the har­mony-tech­nique is the basis for the or­ders of the se­quence-tech­nique, and these in turn are the basis for the mani­fold or­ders of the motif-tech­nique.

 
Hierarchy in the Dance of the Musical Forces
 
 
To­nal­ity ex­pres­ses the mu­si­cal, cul­tural limits of the dance – the danc­ing floor; the tones ex­press the danc­ing move­ments of the mo­tifs – the dancers; and the melo­dies de­scribe the life-story of the dancers.

 
The Dancing Floor of the Formative Forces in Music
 
 
Guided by the se­quence, the mo­tifs dance exuberantly to­wards each other or apart again, like the quali­ties of the hu­man char­ac­ter, which they rep­re­sent, dance to­wards each other or apart again; and their danc­ing shoes appear in the fir­ma­ment of mu­sic as tones, as the shoot­ing stars which flash abundantly across the danc­ing floor of the to­nal­ity.

 
The Sounding Dancing Shoes in the Firmament of Music
 
 
The mo­tifs and the se­quences are ab­stract, not con­crete. There­fore, the in­di­vid­uals which wear those danc­ing shoes are in­visi­ble to the mu­sic spec­ta­tor who lis­tens only su­per­fi­cially; and only the true mu­sic lover rec­og­nizes their mul­tiple shapes and forms in the fir­ma­ment of mu­sic with in­creas­ing clar­ity.

 
Detecting Manifold Forms in the Firmament of Music
 
 
From the level of his pas­sive mu­sic con­sump­tion, the av­er­age mu­sic con­sumer only rec­og­nizes the danc­ing shoes from be­low. The act­ing per­son­ali­ties of the mu­si­cal drama, how­ever, are so far in­visi­ble to him.

 
Passive Music Consumption of the Music Consumer
 
 
When­ever clas­si­cal mu­sic suc­ceeds in en­hanc­ing the af­fec­tion and the at­ten­tion of the lis­tener then, step-by-step, it will re­veal it­self to him as his own in­ner “pleas­ure of danc­ing,” and be­yond the soles of the danc­ing shoes, be­yond the tones, he will rec­og­nize the actors: he will rec­og­nize the mani­fold quali­ties of his own char­ac­ter, and him­self as the choreographer, as the dancers, and also as the proc­ess of danc­ing it­self and as the joy of danc­ing. Then he will enjoy him­self, in the full­est sense of the word, as the solo en­ter­tainer in the ballet of mu­sic.

 
The Solo Entertainer in the Ballet of Music
 
     
     
                                 
     
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
                                     
                                     
  With kind permission of AAR EDITION INTERNATIONAL
© 1998 –  MICRO MUSIC LABORATORIES



 
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