Due to the cur­rent prac­tice of play­ing and per­form­ing, such a three-di­men­sional, spa­tial im­pres­sion of the uni­verse of mu­sic in its subtle vi­bra­tion can­not arise within the lis­tener, be­cause to­day’s mu­sic ex­perts them­selves have this in­ner crea­tive hear­ing only in frag­ments.
How­ever, it is this lively, in­ner mu­si­cal vi­bra­tion in the fusion of space and time which pri­mar­ily con­sti­tutes the true world of mu­sic.

If, due to a nar­row and tech­no­cratic mu­si­cal edu­ca­tion, such a world of sound-spaces in pow­er­ful motion is not made ac­ces­si­ble to the lis­tener, mu­sic is not pre­sented prop­erly; the com­poser’s in­ner, for­ma­tive power is wasted; the “in­ter­pre­ta­tion” has failed; any in­stru­men­tal or tech­ni­cal effort is of no avail.

At around the turn of the cen­tury, even the com­pos­ers lost the crea­tive knowl­edge of the in­ner, men­tal mu­sic-form­ing proc­ess: as a non-mu­si­cal substitute the in­tel­lec­tual con­cept of twelve-tone com­po­si­tion was in­tro­duced, later on fol­lowed by the serial com­pos­ing tech­nique – which was quite in­ter­est­ing ar­ith­meti­cally, but com­pletely unlively as a con­cept for writ­ing mu­sic – as if there was no in­ner hear­ing at all.

Thus, mu­sic was de­prived of its in­ner spark of life and con­se­quently could not be suc­cess­ful (as the era of “con­tem­po­rary mu­sic” – the avantgarde – bears au­di­ble wit­ness).
A mar­ginal phe­nome­non of this loss of the in­ner di­men­sion of crea­tive hear­ing is the pop, punk, and beat scene – the hapless call of the youth for the lost mu­sic.