Hence, mu­sic de­picts the cog­ni­tive field of our ecol­ogy in the force-field of its mu­si­cal sound-space.
In its motif-space, it por­trays the field of our in­di­vid­ual knowl­edge; in the mu­si­cal force-field of the se­quence-space it ex­plains the realm of our so­cial world of knowl­edge.
In yet a higher, or bet­ter: unworldly, sense mu­sic de­picts the per­fect func­tion­ing of na­ture in its whole­ness in the space of the har­mony.

The mu­si­cal sound-space can be com­pared to our physi­ol­ogy, and the tones dis­played in it cor­re­spond to the atoms and molecules of our physi­ol­ogy.
The in­ner struc­ture of the tones cor­re­sponds to the in­ner struc­ture of the atoms, and the mani­fold re­la­tions of tones are an equiva­lent of the mo­lecu­lar struc­tures in na­ture.

The sta­ble atom is rep­re­sented by the pe­ri­odi­cal vi­bra­tion, and the mas­tery over the atomic struc­ture ap­pears in the re­sound­ing form of the con­trolled ape­ri­odi­cal vi­bra­tion.
The un­con­trolled ape­ri­odi­cal vi­bra­tion sym­bol­izes the atom as it grows or decays.

The power over the atoms which phys­ics, for ex­ample, at­tempts or ex­er­cises in nu­clear fis­sion, is equiva­lent to the mu­si­cal seiz­ing power over the mi­cro­cosm of the mu­si­cal sound-space, which lies in the in­te­grated mas­tery of the over­tone-me­chan­ics.

The mani­fold, larger com­bi­na­tions of atoms and molecules are rep­re­sented by the ho­moph­ony by means of sums of pe­ri­odic vi­bra­tions which cor­re­spond to the struc­ture of crys­tals or to the crys­tal struc­ture of the ele­ments in na­ture.
The more com­plex com­bi­na­tions of tones in the mu­si­cal form-field be­tween ho­moph­ony and po­lyph­ony cor­re­spond to the or­gan­isms of liv­ing be­ings.

Po­lyph­ony de­scribes the in­fi­nite change of the ele­ments and in this re­spect, the ele­ment which lies at the basis of the physi­cal: the men­tal-emo­tional.