 Contrary to what is sometimes held, the seeming adoption of an integral mechanism in the last musical works is no renunciation of the metaphysical consideration in harmonics. According to De Buzon (1994: 127, my translation), the causes and effects of consonance are indeed treated physically, but the pleasure taken to harmonics, “albeit an ordinary experience, is a phenomenon that is entirely theological”. Musical pleasure shows both our destination and our state in this world. It raises us to the contemplation of the divine unity, which is so to speak embodied in musical unison: