Mu­sic the­ory con­cerns the in­ner knowl­edge of mu­sic and the ab­stract basis of mu­sic. In this sense, mu­sic the­ory con­cerns the ego, the in­tel­lect – feel­ing and un­der­stand­ing – the mind, and the sense of hear­ing.

Fur­ther­more, mu­sic the­ory con­cerns the mu­sic-cre­at­ing and mu­sic-cog­niz­ing self-con­scious­ness, the mu­si­cal empathy for mu­si­cal truth and the in­te­grated un­der­stand­ing of mu­si­cal struc­tures, the mu­sic-cre­at­ing me­chan­ics of the mind and the audi­tory mecha­nism of the sense of hear­ing.

Mu­sic the­ory con­cerns only mar­ginally the ar­tis­tic-acous­tical prac­tice of mu­sic per­form­ance.

There­fore, the in­sights pre­sented in this book re­quire a change of think­ing as far as true mu­sic the­ory is con­cerned. We will re­gard con­ven­tional mu­sic the­ory at best as a spe­cific part of a very “spe­cific mu­sic the­ory,” and we will un­der­stand the knowl­edge of mu­sic re­vealed in this book as the basis of a “gen­eral mu­sic the­ory.”

Spe­cific mu­sic the­ory is then, ac­cord­ing to this book, gen­eral mu­sic the­ory real­ized in the acous­tic space; and it con­cerns the in­te­grated proc­ess of mu­sic pro­duc­tion, to the tech­ni­cal re­ali­za­tion of Dy­namic Space Stereo­phony.

And gen­eral mu­sic the­ory is con­cerned with the pre­ced­ing, ac­tual proc­ess of cre­at­ing mu­sic up to the com­ple­tion of the pure crea­tive achieve­ment – the mu­si­cal prod­uct on the level of the mind.

Gen­eral mu­sic the­ory then ends where the com­poser knows what he wants to write down and where the in­ter­preter knows what he will play.

And spe­cific mu­sic the­ory be­gins with writ­ing down the score, and with the outer per­form­ance.