Abstrakt What is more evanescent than sound? What is closest to immaterial among the manifestations of the perceptible realm, if not music? Although this has been noted since the dawn of time, music in its historical path has fallen into the error of becoming a language. It has certainly reached peaks of inestimable beauty and depth of thought, but it has gradually moved away from its ethereal essence and I would even say magical-alchemical dimension. During my career as a composer, I have tried to trace music back to what I believe to be its most authentic origins, and I have tried to organize the sound according to the ways in which we perceive it, making Berkeley’s expression my own, according to which “being is being perceived”. In the search for a meaning of music as sensation, I have developed a compositional technique that I call polysystemism, that is, the simultaneous use of different tuning systems in order to create acoustic phenomena on which to base the aesthetics of my research and music. The present paper reports on the excursus of this almost twenty-year investigation, both through its musical works and through some practical solutions for the realization of its intentions. In the final analysis, I believe in the effect of music on human thought and soul, and to put it like Plato: if music changes, the most important institutions will also change. And so be it.