Hardly a word is used with so many mean­ings on so many dif­fer­ent lev­els as the word “space.” Peo­ple’s fan­tasy has given this word mani­fold mean­ing from a sim­ple “room” to the uni­verse, and the mu­si­cal sound-space, too, is just one of the many “spaces” in man’s imagi­na­tion.

The aware­ness of space arises from the rela­tive aware­ness of dif­fer­ences – from duality to di­ver­sity, or sepa­rateness – the dis­tance be­tween two or more things. On the level of sen­sory ex­peri­ence the feel­ing of space re­quires an af­firmation of sepa­rateness through sen­sory per­cep­tion. In this proc­ess a dy­namic change of the spa­tial world must take place in time; in­deed, our rela­tive aware­ness of space ac­tu­ally origi­nates and grows only with a change of the men­tal space of our imagi­na­tion.

Un­der the outer hull of the sound-space the mu­si­cal pa­rame­ters move as if in dif­fer­ent layers.

The ma­te­rial of the mu­si­cal sound-space can be com­pared to our ma­te­rial body, while the motif-space can be com­pared to our subtle body. The motif-space enli­vens the mu­si­cal sound-space from within, it struc­tures it and holds it to­gether.

In this terms, the se­quence may be un­der­stood as our mind which, from within, from a state of even greater sub­tlety, enli­vens, struc­tures, and in­te­grates our subtle body, which cor­re­sponds to the motif-spaces.

The in­fi­nite har­mony-space may be com­pared to that basis of our mind which, from within, from the state of great­est sub­tlety, enli­vens, struc­tures and in­te­grates the mind, which in turn cor­re­sponds to the se­quence-spaces.