This fusion of space and time does not mean that our op­pos­ing hu­man quali­ties and their ex­pres­sions in the mu­si­cal sound-space are sus­pended. The mu­si­cal means for stimu­lat­ing the space-aware­ness remain sig­nifi­cant on the level of our mind, but now we rec­og­nize them, from the com­mon basis of space and time in the in­fi­nite, as the di­ver­sity of our own in­ner self-con­scious­ness.

To un­der­stand how clas­si­cal mu­sic may stimu­late the aware­ness of space and time in an alert lis­tener, we think of the fear­less user of a swing-boat: high up, just be­fore he turns over at the peak, he reaches a point where he is stand­ing still, a moment of weight­less­ness, in which he for­gets the world, and only one ques­tion is left: “For­ward or back­ward?” At this moment all prob­lems are for­got­ten.

In such a state of sus­pen­sion, the spaces, as ex­peri­enced by our un­der­stand­ing, permeate the spaces as re­vealed to us by our feel­ing, and the longer we main­tain the state of mutual permeation of feel­ing and un­der­stand­ing, the stronger is our ex­peri­ence of enli­vened si­lence.

This permeation of feel­ing and un­der­stand­ing in the space-time re­la­tion­ship, to the com­plete in­te­gra­tion of feel­ing and un­der­stand­ing of the lis­tener, can only be achieved if the mu­si­cian mas­ters the en­tire field of mu­sic in an in­te­grated man­ner.

Out­wardly, the achieve­ment of the mu­si­cian lies par­ticu­larly in his mas­tery of the over­tone-me­chan­ics – the level of the mu­si­cal sound-space.

On a level su­pe­rior to the sound-space, in the motif-space, which de­ter­mines the mu­si­cal sound-space from within, our ex­peri­ence of the fusion of space and time is even more pro­found when, through the in­ner power of the se­quence-tech­nique, di­verg­ing mo­tifs turn around and return to each other.

On a level su­pe­rior to the motif-space, in the melody-space, the fusion of space and time within our aware­ness is achieved even more ef­fec­tively when a motif un­ex­pect­edly changes and, as if in dis­guise, sud­denly ap­pears from be­hind the cur­tain of the mu­si­cal stage and real­izes the prin­ci­ples of the melody-tech­nique.

On a level su­pe­rior to the melody-space, on the level of the se­quence-spaces, the ex­peri­ence of weight­less­ness is pro­duced even more pow­er­fully when a se­quence, with all its pa­rame­ters bal­anced, trans­forms into an­other se­quence.

On the high­est level of mu­si­cal crea­tiv­ity weight­less­ness is achieved in our aware­ness when a sound, a motif, a melody, or a se­quence iden­ti­fies with the har­mony, rec­og­nizes its origi­nal home, re­mains there for a moment, and then, strength­ened, con­tin­ues its crea­tive jour­ney through the world of mu­sic.