The phys­ics of mu­sic in the ob­jec­tive field is based on the meta­phys­ics of mu­sic – pro­vided the ori­gin of mu­sic, the har­mony, the ob­jec­tive basis of mu­sic, is per­ceived – and in the sub­jec­tive field it is based on self-knowl­edge.

Fur­ther­more, the phys­ics of mu­sic ranges from the tech­nol­ogy of sub­jec­tive mu­si­cal pro­duc­tion – the me­chan­ics of the mind, the me­chan­ics of the in­tel­lect, and the me­chan­ics of the senses and their mas­tery by the in­ner self – to the phys­ics of mu­si­cal in­stru­ments, and to the en­tire ma­chin­ery of mu­si­cal pro­duc­tion, and mu­si­cal re­pro­duc­tion re­spec­tively.

In this con­text it is nec­es­sary to dis­tin­guish, from within as well as from out­side, be­tween the phys­ics of mu­sic and the phys­ics of an acous­tic event, be­cause the phys­ics of mu­sic, with com­pel­ling logic, con­tains the crea­tive back­ground for pro­duc­ing mu­sic, while the phys­ics of the acous­tic event does not take into ac­count the im­por­tant fac­tor of crea­tiv­ity, which alone trans­forms an acous­tic event es­sen­tially into mu­sic.