The so­ci­ol­ogy of mu­sic is con­cerned with the con­ge­nial re­la­tions of the over­tones of a tone, as well as with the re­la­tions of the mo­tifs among each other, the melo­dies among each other, and the se­quences among each other.
But it is also con­cerned with the con­ge­nial re­la­tions be­tween the over­tones, the mo­tifs, and the se­quences.

In this con­text, the so­ci­ol­ogy of mu­sic not only cor­re­sponds to the sys­tem of the in­ner-hu­man, but also to the outer hu­man so­cial re­la­tions, which it de­scribes re­al­is­ti­cally by means of the men­tioned pa­rame­ters.

How far such a de­scrip­tion of the so­ci­ol­ogy of mu­sic can go on the sur­face is dem­on­strated by the hi­er­ar­chic struc­ture of clas­si­cal mu­sic, and on to the dic­ta­tor­ship of the masses in twelve-tone mu­sic, where all the tones of the scale and their pa­rame­ters (pitch, du­ra­tion, am­pli­tude, etc.) have the same value, and in the tech­nique of serial com­pos­ing – the per­fec­tioned twelve-tone mu­sic – in which all these pa­rame­ters are ap­plied like pat­terns ma­nipu­lated by arith­me­tic op­era­tions.

Based in the field of in­ner hear­ing, but also in the physi­ol­ogy of the outer mu­si­cal in­stru­ments there exist fixed na­ture-given or­ders of sound-spaces, which – when sys­tem­ati­cally ex­plored – let con­clude a na­ture-given so­ci­ol­ogy of mu­sic, as they ex­press them­selves in fixed re­la­tions of the tones among them­selves, but also of sound-spaces among them­selves.

These natu­ral, so­cio­logi­cal or­ders of the over­tone-spec­trum are ap­plied by the great mu­si­cal art­ists in the mac­ro­cosm of their mu­sic – in the outer struc­ture of their com­po­si­tions – where they can eas­ily be traced and iden­ti­fied by way of analy­sis.

In this con­text it should be noted that an outer de­via­tion from the na­ture-given in­ner or­der of mu­sic cre­ates the im­pres­sion of dis­so­nance within the lis­tener; a phe­nome­non that in­di­cates a rift be­tween the mac­ro­cosm and the mi­cro­cosm of mu­sic, and which ap­pears each time the logic of the mac­ro­cosm has de­vi­ated from the logic of the mi­cro­cosm.

The fact that we rec­og­nize a dis­so­nance so di­rectly con­firms that in our men­tal fac­ulty of per­cep­tion there al­ready exists an aware­ness of har­mony be­ing the or­ga­niz­ing prin­ci­ple in mu­sic, and that we have at our dis­posal a built-in, mu­si­cal men­tal-spiri­tual ca­pa­bil­ity for per­ceiv­ing so­cio­logi­cal or­der.