Due to the current practice of playing and performing, such a three-dimensional, spatial impression of the universe of music in its subtle vibration cannot arise within the listener, because today’s music experts themselves have this inner creative hearing only in fragments.
However, it is this lively, inner musical vibration in the fusion of space and time which primarily constitutes the true world of music.

If, due to a narrow and technocratic musical education, such a world of sound-spaces in powerful motion is not made accessible to the listener, music is not presented properly; the composer’s inner, formative power is wasted; the “interpretation” has failed; any instrumental or technical effort is of no avail.

At around the turn of the century, even the composers lost the creative knowledge of the inner, mental music-forming process: as a non-musical substitute the intellectual concept of twelve-tone composition was introduced, later on followed by the serial composing technique - which was quite interesting arithmetically, but completely unlively as a concept for writing music - as if there was no inner hearing at all.

Thus, music was deprived of its inner spark of life and consequently could not be successful (as the era of “contemporary music” - the avantgarde - bears audible witness).
A marginal phenomenon of this loss of the inner dimension of creative hearing is the pop, punk, and beat scene - the hapless call of the youth for the lost music.