In this terms, the mu­sic of dif­fer­ent peo­ples no longer ap­pears as the ex­pres­sion of the sepa­ra­tion of en­tirely dif­fer­ent cul­tures, but rather as an ex­pres­sion of the de­gree of sub­tlety in which the natu­ral spec­trum of over­tones is per­ceived. And this, in turn, re­sults in dif­fer­ent cul­tures hav­ing dif­fer­ent meth­ods of pre­sent­ing the mu­si­cal sound-space.

There­fore the mu­sic of dif­fer­ent cul­tures with their dif­fer­ent lev­els of de­vel­op­ment shows dif­fer­ent per­cep­tion of the de­gree of or­der of hu­man evo­lu­tion, which again is dif­fer­ently ex­pres­sed in mu­sic.

From this one can con­clude that the mu­sic of dif­fer­ent peo­ples, or of the same peo­ple at dif­fer­ent times or at dif­fer­ent places, is not dif­fer­ent be­cause of an imagi­nary dif­fer­ence of cul­tures, but be­cause dif­fer­ent lev­els of hu­man evo­lu­tion have been reached, and have been ex­pres­sed in their mu­sic.

From this mu­sic-theo­reti­cal analy­sis we may fur­ther con­clude that, as far as mu­si­cal or­der is con­cerned, dif­fer­ent cul­tures do not really exist. There are only higher and lower lev­els of hu­man evo­lu­tion which ex­press them­selves in vary­ing de­grees of mu­si­cal or­der.