Whereas the melody de­scribes the in­di­vid­ual jour­ney of man on his path of evo­lu­tion, po­lyph­ony de­scribes many such paths in their com­bi­na­tion.
This is called “coun­ter­point.”

The high art of the coun­ter­point lies in not only con­sid­er­ing in­di­vid­ual paths of des­tiny, but in com­bin­ing many of them and allowing them to act and react with each other; this cre­ates a much greater va­ri­ety of ex­peri­ence.

In true po­lyph­ony, the in­di­vid­ual motif in its de­vel­op­ment not only af­fects the un­fold­ment of other life paths, but it also merges its own path of des­tiny so in­ti­mately with the paths of un­fold­ment of the other mo­tifs that it embod­ies the vi­tal­ity of all the oth­ers.

Through the per­fect in­te­gra­tion of the poly­phonic pa­rame­ters the lis­tener ex­peri­ences in the high art of the fugue how all the en­er­gies which he needs for the full use of his free crea­tive will, for the mas­tery over his per­sonal path of des­tiny, can flow to him natu­rally and spon­ta­ne­ously from the life im­pulses of his fel­low men.

Through the high art of the fugue – through the su­preme mas­tery of the coun­ter­point, through the in­te­grated mas­tery over the poly­phonic pa­rame­ters – po­lyph­ony thus de­scribes the ob­jec­tive, com­pre­hen­sive view of our in­ter­woven paths of des­tiny as we pro­ceed on our way to com­plete in­di­vid­ual and so­cial free­dom.