In true clas­si­cal mu­sic this fusion of space and time lies hid­den deep within the sub­atomic field of sound – be­neath the in­fi­nite, or­gan­ized di­ver­sity of its in­te­grated over­tone-me­chan­ics.

There­fore, mas­tery over the over­tone-me­chan­ics is the core of prac­tis­ing the art of mu­sic.

In the field of in­ter­pre­ta­tion, too, an in­te­grated, dy­namic sys­tem is re­quired to gain con­trol over all the com­po­si­tional pa­rame­ters for the space-time fusion in the mu­si­cal sound-space. Only through a tech­nol­ogy of over­tone con­trol ruled by higher con­scious­ness the mu­si­cian is ca­pa­ble of mak­ing au­di­ble a truly enli­vened mi­cro­cosm even in the acous­tic space.

Thus, con­trol over the rhythm proves to be the es­sen­tial key to open up the for­ma­tive space of mu­sic. And in the hands of a truth­ful mu­si­cian this golden magic key unites the in­ner com­po­si­tional logic with the outer prac­tice of per­form­ance.

The proc­ess of in­ner com­pos­ing is not only analy­sis, but analy­sis and syn­the­sis melted into one, and on the basis of this unity, mu­sic re­sounds in the mind of the mu­si­cal crea­tor. Re­pro­duc­ing a com­po­si­tion with con­ven­tional physi­cal in­stru­ments, how­ever, suf­fers from the limi­ta­tions of tech­nol­ogy: it does not dis­play this men­tal unity di­rectly.