Also a knowledge of the norms that rules the many different musical forms and genres he uses in his compositions – classical, jazz, funk, rock, free improvisation, etc. – is necessary [1]. And the fact that he changes musical genres and forms so fast make it hard for other people – those who belong to single communities – to place him somewhere. As he states:

I'm not really at home anywhere. For jazz musicians I always lack of 'swing', because I kept playing Eisler's themes; in the sphere of new music, I cannot go deep, for my biography with pop music and for all of that inspiration coming from theatre – and I don't even want to go that deep… In theatre, otherwise, I am not considered by critics, at least not in Germany, because they say there's too much music; for opera, I'm not interesting because there is not enough singing. So, I cannot feel home anywhere, and I quite like it. [2]

And from another quote,

Ten years ago, I had a powerful experience: in Frankfurt, all the 'Litfass' columns were full of posters: it was my first work for music theatre my name was everywhere. I thought: "Great, I've made it!". As I turned around the corner, I met an old friend, who asked: "Heiner, what are you doing? I have heard from you in a long time! I haven't come at the Jazzkeller in a long time". Then, it was clear to me how relative these circuits are, how independent from each other they are […]. [3]

It means that connections between musics are possible and that they can happen, but often communities are not connected: the superimposition of musics belonging to different circuits leads to different meaning and interpretation, according to listeners and critics – quite an obvious thing, but essential for Goebbels. It seems that musicology today should also lead to a unified field, respectful and fully aware of differences, free from prejudice and helpful for understanding such complex musical personalities as Goebbels.