In the latest reviews and essays about his work and person, the German dramatist Heiner Muller is called a global writer. Muller himself has already clarified years ago that his dramatic texts are autonomous landscapes, which can be spread and read in different ways, independent of political systems like the GDR. In order to support this development and to elaborate the ontological and rather social than socialistic questions in the dramatic texts of Heiner Muller, it is significant and necessary to account for the form and language in Muller's texts and to give attention to one special characteristic: Muller's dramatic texts are musical texts. The composer and producer Heiner Goebbels attends to musical readings in his productions. His radio plays, staged concerts and musical pieces (among others Die Befreiung des Prometheus, Der Mann im Fahrstuhl/The Man in the elevator, Wolokolamsker Chaussee I-V) are the topics of this analysis. The volume aims to show in which way Heiner Goebbels picks up the musical offerings in Muller's texts, and to deliever insight into the part that music plays in the productions of Heiner Muller. German text.