The physi­ol­ogy of mu­sic has two as­pects: ob­jec­tive and sub­jec­tive.

The ob­jec­tive as­pect of the physi­ol­ogy of mu­sic con­cerns the en­tire range of the mu­si­cal sound-space – as far as it does not di­rectly in­clude the field of crea­tiv­ity.

The ob­jec­tive field of the physi­ol­ogy of mu­sic in­cludes the knowl­edge of the think­ing proc­ess as well as the prac­ti­cal mas­tery over the mind as a mu­si­cal in­stru­ment – the sub­mis­sion of the mind to the rule of the self-aware­ness, to the crea­tive will of the mu­si­cian.

More­over, the ob­jec­tive physi­ol­ogy of mu­sic is con­cerned with the mu­si­cian’s imagi­na­tion re­gard­ing the faith­ful in­ter­pre­ta­tion.

The sub­jec­tive field of the physi­ol­ogy of mu­sic con­cerns the in­ner re­la­tions of pow­ers of the mu­si­cal com­po­si­tional pa­rame­ters – the har­mony, the se­quence, the melody, and the motif – with the mu­si­cal sound-space, i.e. the junc­tion point of our in­ner-hu­man pow­ers with our mind.

The ef­fect of the in­ner men­tal pro­duc­tion of mu­sic on the physi­ol­ogy of the mu­si­cian or on the physi­ol­ogy of the lis­tener there­fore does not be­long to the field of the physi­ol­ogy of mu­sic, but to its ecol­ogy.

The physi­ol­ogy of mu­sic, the en­tire struc­ture of the mu­si­cal sound-space on the level of the mind, is only the outer men­tal image of that which has been cre­ated within: the mu­si­cal re­sult in the mind of the mu­si­cal art­ist. The physi­ol­ogy of mu­sic is the true mu­si­cal pre­miere which the mu­si­cal art­ist sur­veys with his sense of hear­ing.