When the Messiah came to the Earth el-Horto asked him, whether he had ever been to this place before? On his sign, like an orogenesis, a new civilization would emerge, with relics, memorials and the wreckage of Noah’s Ark among its ruins, full of memories of the future and, among others, an incomplete ethnomusicologic collection that would be catalogued in later eras as The Guo Collection. In the course of the academic publishing of ‘The Guo Collection’ it appeared, that this is not World Music but a virtual collection of a possible still never realizable global musical language and its vainness: on this Earth, the musical traditions of the past will always die out with the changes of eras, thus they will never be fossilized, like bricks, into the single pyramid of world music being built up this way. It is regrettable, that the science of music is not able to be a strong culture in a sufficiently self-determining way, just to survive its inventors’ short life, without being changed in any way. Its reason lies in its application: until music serves for stimulating the openings of the body, and its mémetic magic and beneficial irradiation on sulcuses of humanoid brains does not reach the success of a levitation exercise in vedanta yoga, it will only function as a stimulant for draining kundalini libido, thus serving the constraint of escaping from individual existence being crippled and tucked underneath the blocks of brutal human-social structures and of self-expression wallowing in fashions.