Sound may adopt any form in space. In the acous­tic space the in­ner mul­ti­plic­ity of sound, how­ever, may also be gen­er­ated in the four-di­men­sional space-time re­la­tion­ship. Through such unlim­ited for­ma­tive po­ten­tial even in this outer acous­tical field of mu­sic the in­ner logic of the mu­si­cal re­al­ity can be un­folded for the lis­tener with uncom­pa­ra­bly greater plas­ticity than the con­ven­tional tech­nol­ogy of mu­sic pro­duc­tion ever al­lowed.

Due to a grow­ing de­mand for higher qual­ity in mu­sic, and with the ap­pli­ca­tion of a com­pletely new tech­nol­ogy in the sub­atomic field of mu­sic, for the first time it is pos­si­ble for us lis­ten­ers to look, as if through an elec­tron mi­croscope, into the mi­cro­cosm of mu­sic. Hence, we sud­denly ex­peri­ence sound as the ce­les­tial space of a sparkling splen­dour of stars mov­ing in mani­fold pat­terns. We find ourself in the midst of the natu­ral mu­si­cal uni­verse.

Be­cause each in­di­vid­ual tone lights up in the di­ver­sity of its over­tones, the richly col­oured struc­ture of the sound com­posed of over­tones un­folds like the scintillating, fanned feath­ers of a peacock.

While the un­fold­ment of over­tones is gov­erned by the in­ner logic of the com­po­si­tion, the in­di­vid­ual over­tones per­form their own move­ments in space, and the mu­sic gains a highly spa­tial qual­ity.
On the level of sound, this dy­namic struc­ture of over­tones achieves that lively crea­tive re­al­ity which is able to unlock in us lis­ten­ers our own world of fan­tasy.

A tone is as much and as lit­tle an ex­pres­sion of whole­ness as is a tree. Just as a tree is com­posed of roots, trunk, bran­ches, twigs, and leaves, and just as each of these again have their own struc­ture and their own life, a tone also con­sists of a multi-lay­ered sys­tem of over­tones, ar­ranged in a man­ner very simi­lar to that of the com­po­nents of a tree.