In con­ven­tional mu­sic analy­sis, the sys­tem­atic method of in­ner crea­tiv­ity was re­moved from the view of the mu­sic stu­dent, by call­ing it “reve­la­tion,” in com­plete dis­re­gard of the ac­tual mean­ing of “reve­la­tion”: to re­veal, to dis­close to eve­ry­one.

The con­ven­tional, tech­no­cratic study of in­stru­ments, the study of mu­sic the­ory, the study of com­pos­ing, and the study of con­duct­ing there­fore are in no way re­lated to the re­al­ity of a com­po­si­tion.

To the clas­si­cal com­poser, his innate abil­ity of in­ner hear­ing is also his natu­ral start­ing point for writ­ing down the score.

This in­ner hear­ing is of an ele­men­tary spa­tial na­ture – much more ele­men­tary than spa­tial vi­sion; at the same time this spa­tial hear­ing de­pends on the ears as lit­tle as, dur­ing dream­ing, our sight de­pends on the eyes.

To­day, the mean­ing of “spa­tial” is gen­er­ally as­so­ci­ated with “what can be seen,” i.e. with the lim­ited space. How­ever, by vir­tue of the me­chan­ics of ex­peri­ence, space can be ex­peri­enced far more dra­mati­cally in the field of the in­ner hear­ing, and there­fore an ade­quate defi­ni­tion, in com­mon terms of to­day, of the phe­nome­non of spa­tial ex­peri­ence, as the com­poser knows it, is re­quired.

From the view­point of the clas­si­cal com­poser, the word most suit­able to cap­ture the na­ture of “space,” as­so­ci­ated with his in­ner hear­ing, is “di­men­sion.” And when a com­po­si­tion un­folds within the mu­si­cal crea­tor, it seems to him as if he rushes through worlds – striding from one di­men­sion to an­other.

For the great clas­si­cal com­pos­ers from Bach, Haendel, Haydn, Mozart, Beethoven, Schubert and Schu­mann, to Wagner and Brahms, it was only natu­ral to ob­serve as unin­volved wit­nesses the dy­namic un­fold­ment of a com­po­si­tion within their mind. While hear­ing mu­sic, this in­ner im­pres­sion is only natu­ral, and there­fore the mu­si­cal crea­tor wants to bring it about within the lis­tener, too.