The basis of true musical performance is the skilful presentation of the integrated play of these two great powers of nature. Time and space are the foundation, the strong pillars which, curving towards each other like an arch, shelter the listener while letting the music resound between him and themselves.

Space and time, the two invisible, inaudible sovereigns of the realm of tones are the great friends and patrons of the classical musician.

If the musician succeeds in consciously uniting his inner artistic nature with the great sovereigns space and time, he has gained for himself and for the listener infinity in the garment of beauty, and this invaluable gift marks the beginning of his actual career in music.

With the help of the two mighty arms space and time, the powerful musician presents to us the sacrificial bowl of life in the form of musical beauty. This inspires us to sacrifice our limited ideas to the divine spark of inner cognition, and we gain the experience of freedom.

If, however, the uneducated musician, due to his limited consciousness, becomes involved in rhythmic periodicity, he makes time and space his enemies leaving himself and us listeners to the experience of mortality.

If the experience of time seems to appear in conventional music, it is rather our painful experience of time as separated from space, produced by the rhythmical and tonal (spectral) monotony, and annoys us listeners in our pursuit of fulfilment: then the piece of music, or rather the piece of noise, drags along like an inert lifeless mass giving us the feeling of mortality, the impression of boundedness, and it sets our mind on chasing the fleeting pleasures of life in the little time that is left to us, trying not to miss anything.