On the Concept of the B - A - C - H Motif (Melosophical essay)
The author offers his view on the four-note motif that J. S. Bach used as a musical signature, investigates its melodic configuration, its constructive and expressive significance, explains why this four-note sequence exhibits characteristic Bachian musical interconnection of tones, thus being symbolic for the whole of Bachs music, and describes the motif as a model for the interval pattern used in all classical European music. The author draws upon the ideas of Isaiah Braudo, Yakov Druskin, Ernst Kurth, and Rudolf Steiner.