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The Dance of Tones, Motifs, and Sequences



The Dance
in the Spaces
of the Musical Force-Fields

The Dance in the Infinity of Time

Hierarchy in the Dance of the Musical Forces


The Dancing Floor of the Formative Forces in Music

The Sounding Dancing Shoes
in the Firmament of Music


Detecting Manifold Forms in the Firmament
of Music

Passive Music Consumption of the Music Consumer

The Solo Entertainer in the Ballet 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.

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 comprehen-sive sequence-spaces, and in the infinity of the space of the harmony.

The dancing movements of the musical elements flow 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.

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.

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 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.

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.

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 quali-ties 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.







P E T E R   H Ü B N E R  –  N A T U R A L   M U S I C   C R E A T I O N



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

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

The Ecology of Music

The Physics of Music

The Physiology of

The Economy of Music

Music Critique

Dance in Music