In the sys­tem of po­lyph­ony, on the other hand, ho­moph­ony is only one of in­fi­nitely many pos­si­bili­ties, and it rep­re­sents the to­tally un­real, the nonmu­si­cal case in which time is fix­ated – and its flow con­stant.

Thus ho­moph­ony, as op­posed to po­lyph­ony, rep­re­sents eve­ry kind of heavyness.

Po­lyph­ony, how­ever, ful­fils all re­quire­ments for the free­dom of mu­si­cal crea­tiv­ity. It is the realm in which the mo­tifs, un­der the moth­erly guid­ance of the se­quence-tech­nique, can un­fold into in­fi­nite mul­ti­plic­ity and ex­pand through­out all the mu­si­cal sound-spaces, thus struc­tur­ing and enli­ven­ing the world of mu­sic in the same way as chil­dren fill the home of the fam­ily with life.

In po­lyph­ony the mu­si­cian finds a mani­fold world of men­tal-spiri­tual free­dom – that free­dom which in a free play struc­tures the in­ner world of man and thus is the world of beauty, the world of great or­ders.

Po­lyph­ony is the an­cient, im­mor­tal, lively form of mu­sic, the true-to-life form of the mu­sic of our fu­ture. It means free­dom for the paths of the mo­tifs, for the un­fold­ment of the melo­dies, for the lead­ership of the se­quences.

The great clas­si­cal forms of mu­sic dis­tin­guish them­selves by striv­ing with great impetus from homo­phonic to­wards poly­phonic forms, thus in­spir­ing man to greater per­sonal and so­cial free­dom of un­fold­ment.

Hav­ing brought to per­fec­tion the side-by-side play­ing un­der the baton of the con­duc­tor, the con­ven­tional prac­tice of per­form­ance is, as far as in­ner-hu­man val­ues and edu­ca­tion are con­cerned, very lit­tle pre­pared for the free world of po­lyph­ony and thus for true mu­sic. In terms of poly­phonic per­form­ance, con­se­quently, en­tirely new tasks emerge for the mu­sic edu­ca­tion.

Genu­ine mu­si­cal per­form­ance finds it ful­fil­ment, when true mu­si­cians glo­rify each other by har­mo­ni­ously play­ing to­gether with­out a “gladiator” at the con­duc­tor’s podium enforcing monotony.