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.