Conventional music theory grasps the composition only in its peripheral effects. With the conventional means of musical analysis only the outer physiology of music is being analyzed, and this outer mechanical procedure does not even permit a judgement of whether it is actual live music or only a “computer-made” composition.
Thus, with the current means of externally gaining scientific knowledge of music one studies music, but misses the essence of it.

Music essentially is concerned with something non-musical, with something generally human.
Music itself corresponds to the inner nature of man, and its outer sound-appearance corresponds to his clothes. And the latter, the outer musical garment, the gross musical form, is all that is made accessible in conventional musicological research.

Even if our clothes fit well, and even if the style of the dress matches our taste and the taste of our time, none of us would want to be judged by his clothes alone.

The status quo of the current scientific musical research is only the expression of the secrecy which surrounds the systematic process of the genuine creation of music since centuries.

The outstanding reputation that many a great musician enjoyed in society led to a point where the talents among them were pressed into the role of heroes by the cheering crowd, and consequently the simple credo of straightforward creativity was suppressed.