Abstract: This dissertation presents the first three pieces of my chamber music cycle Rausch des Vergessens that have been completed. The title of the cycle comes from a passage in Hermann Broch's famous novel The Death of Virgil, where in the course of a climactic run-on sentence, the dying Virgil sees human figures walk past him, and describes their physiognomies in overwhelmingly meticulous detail, yet fails to recognize them as people. Three individuals ought to be named here whose work has directly inspired the pieces presented in this dissertation, as well as the cycle itself: Mathias Spahlinger, Gertrude Stein and Nicholas of Cusa. Each artist strove or strives within his or her individual discipline to convey a sense of doubt about the nature of order. For Cusanus, this meant skepticism about humanity's ability to conceive of God's true nature, since the gap between our finite realm of experience and the infinite cannot be bridged by finite means. Stein's work, especially the Stanzas in Meditation (1932), presents ideas and phrases in such a way that the reader is rendered indecisive about what kinds of relationships between the ideas are more important than others. Spahlinger found myriad ways to compose the dissolution of musical order, particularly in his orchestral works such as passage/paysage (1990). Fallschirm, for solo alto trombone, was written for Andrew Digby, who premiered the work in Stuttgart, Germany, on October 12, 2004. Rosy Derivative, for solo piano, acts as an epilogue to Fallschirm. It was premiered by Sebastian Berweck in Redlands, CA, on February 16, 2006. zu eng, for 12 solo strings, has not yet been performed. It was written for SUONO MOBILE Streicher, directed by Christof M. Löser.