Un­til now, the lis­tener may have ex­peri­enced such di­ver­sity, in the form of an in­ner per­sonal reve­la­tion, only dur­ing a few enlight­ened mo­ments of his in­ner ex­peri­ence – quite out­side con­ven­tional mu­sic.

The mu­sic lover, un­der the di­rect guid­ance of the in­ner mu­si­cal for­ma­tive will now en­ters the deep­est depths of mu­sic: a long for­got­ten, beau­ti­ful world in which the me­chan­ics of over­tones, di­rected by the com­po­si­tion it­self, break the chains of the fixed in­stru­ment char­ac­ter­is­tics and free mu­sic from the sound in which it has been trapped.

In­spired by a new hear­ing abil­ity, this mod­ern subtle tech­nol­ogy for re­cording mu­sic starts from the prac­ti­cal mas­tery over the mi­cro­cosm of mu­sic. The enor­mous in­crease of mu­si­cal en­ergy, avail­able for the men­tal-psy­chical stimu­la­tion of the lis­tener, cor­re­sponds to the in­crease of en­ergy which we find in sub­atomic fields when going deeper into nu­clear phys­ics.

The con­trol, how­ever, which we gain over the “in­ner spec­tra of mu­sic” to­day is far more com­pre­hen­sive than the con­trol which phys­ics has over the “in­ner spec­tra of atoms” in the field of nu­clear fis­sion.

Dur­ing the struc­tur­ing of the mu­si­cal sound-space the motif ex­pres­ses it­self in the proc­ess of its grad­ual awak­en­ing within the over­tone-spec­trum.

Through this, the motif enli­vens the space- and time-struc­tur­ing ele­ments of sound from within.

Com­pared to the plane­tary sys­tem of a “tone” with its dy­nami­cally struc­tured spec­trum of over­tones, a mu­si­cal motif is some­thing like a su­pernova un­fold­ing in a con­trolled man­ner.

Thus, just as the motif rep­re­sents a world in large, the tone rep­re­sents a world in small. But now, for the first time, the sound has its own in­ner world of ex­tremely subtle mo­tifs which de­ter­mine its mi­cro­cosm in the mu­si­cal sound-space, and which now con­sti­tute the in­ner life of mu­sic.