In mu­sic the hu­man abili­ties appear as act­ing char­ac­ters; they live through the proc­ess of hu­man evo­lu­tion in the play or even fight of the in­ner quali­ties – scenes which eve­ry­one knows from ex­peri­ence and can re­late to as a lis­tener.

The ap­plied motif-tech­nique de­scribes our in­di­vid­ual sphe­res of life mov­ing to­wards each other ac­cord­ing to the course of the mo­tifs – flow­ing into each other, permeating each other, and striv­ing apart again. The worlds of the se­quences, how­ever, are more com­pre­hen­sive: be­ing the so­cial sphe­res of the mu­si­cal se­quences they en­com­pass the in­di­vid­ual sphe­res of the mo­tifs.

In our stellar sys­tem, sound spaces may be com­pared to the plane­tary sys­tems and motif-spaces may be com­pared to the solar sys­tems; the se­quence-spaces cor­re­spond to the milky ways and the har­mony to the en­tire uni­verse.

Be­ing sys­tems of su­pe­rior or­der, the solar sys­tems of the mu­si­cal mo­tifs in­clude the plane­tary sys­tems of the sound-spaces, and the milky ways of the mu­si­cal se­quences in­clude the solar sys­tems of the motif-spaces,
and the uni­verse of the mu­si­cal har­mony in­cludes the milky ways of the se­quences; and the sys­tems of one or­der al­ways move within the sys­tem of a higher or­der.