The Listener's Insight into the Inner Life of the Musical Sound-Space

The Subtle Dimension of Musical Poetry

The Musical Means for Structuring Space and Time

Controlling the Rise of Space and Time in Music

The Distance of the Listener to the Live Elements of the Musical Universe

The Musical Field of the Unlively

The Acoustic-Mental Distance of the Listener to the Musical Sound-Space

Entering the True World of Music

Only this inner insight into the musical sound-space, now enlivened in manifold ways, can open up the true world of music to the listener.

So far, the paramount importance of this inwardly unfolding microcosm of the musical sound-space has not been realized at all by the experts in musicology – even though it is this subtle dimension of musical poetry in particular that enables the virtuoso to portray life.

The distance between each of the overtones is the means for structuring space, and the rhythm, in which the overtones structure the musical sound-space, is the means for structuring time.
Thus, in the microcosm of music, the rhythmical structure is associated with time and the interval structure with space.

In the gross, outer macrocosm of the composition, rhythm and interval are not able to express space and time sufficiently and to realistically display an integrated space-time relationship within the listener.
This requires compositional power over the microcosm of music, i.e. the instrumental control over the mechanics of overtones – the world of subtle sounds which, because of their high level of energy, directly touch the inner power of imagination within us listeners.

When observing our solar system from another solar system in respect to its structure, one would probably, due to the great distance, only recognize the planetary orbits but not life itself – because at such great distances the living entities of our universe are hidden from the view of the spectator.

In music we find a corresponding case in the conventional instrument sound as it is routinely produced by today's conventionally trained perfect instrumentalist.

Because of the conventional, instrument-oriented production of sound the acoustic-mental distance of the listener to the musical sound-space, to the individual tone, becomes so great that he does not even expect an enlivened world of its own within the instrumental tone, just as, when looking from another solar system, one is unable to imagine that our small earth has room for so many individual human destinies.