Hereby the en­tire field of cre­at­ing mu­sic is gov­erned by three ba­sic mecha­nisms:

How­ever, this three­fold mas­ter­ship of cre­at­ing mu­sic not only cov­ers the com­po­si­tion as a whole, but eve­ry sin­gle ele­ment, as well as the groups of ele­ments of the com­po­si­tion – even eve­ry sin­gle over­tone and the com­plete mas­tery of it by the self-aware­ness of the mu­si­cal poet.

The in­tel­lect of the mu­si­cal crea­tor is that de­ci­sion-mak­ing fac­ulty which serves his self-aware­ness to achieve two­fold ful­fil­ment, and which there­fore di­rects the en­tire proc­ess of com­pos­ing.

Thus, the self-aware­ness, through the feel­ing, de­livers a per­fect lively ba­sic vi­bra­tion to the mind and enli­vens it as the ab­so­lu­te sound-sub­stance. This live, all-em­brac­ing ba­sic vi­bra­tion is a gift from the self, through its in­her­ent feel­ing, to the mind; it breathes life into the mind – that in­ner life which mu­sic re­quires.

There­fore it is a fun­da­men­tal step in prac­ti­cal mu­sic edu­ca­tion to de­velop that lively, com­pre­hen­sive, ba­sic vi­bra­tion on the level of the mind, that vi­bra­tion which holds the mu­si­cal work to­gether as a whole, and which pre­vents the ele­ments of the com­po­si­tion from fal­ling apart.

De­vel­op­ing the per­fect, har­mo­niz­ing sound-sub­stance on the level of the mind is based on the sys­tem­atic, sci­en­tifi­cally founded cul­ti­va­tion of our hu­man feel­ing.

With­out the com­po­nent of feel­ing, and with­out its pur­pose­ful ap­pli­ca­tion un­der the di­rect guid­ance of the self-aware­ness, the com­poser is not able to con­sciously com­pose. Ho­lis­tic, har­mo­ni­ous, pleas­ing, and mean­ing­ful mu­sic would never be stimu­lated to sound within him – let alone be heard inside or even con­veyed out­side.

The abil­ity of the in­tel­lect to dis­crimi­nate emo­tion­ally may also be called “the heat-pro­duc­ing device.” It is re­spon­si­ble for dis­solv­ing the re­ver­ber­at­ing form (the struc­ture) of a thought, and it causes the sub­stance (the ma­te­rial as­pect) of a thought – the po­ten­tial of cos­mic think­ing – to domi­nate.
The ra­tional abil­ity of the in­tel­lect to dis­crimi­nate may also be called the “cold-pro­duc­ing device”; it gives the thought its defi­nite form of sound. The sub­stance of the thought be­comes less domi­nant and the outer, sound­ing shape of the thought – the sur­face of the mind – pre­domi­nates.

The power of our hu­man un­der­stand­ing gen­er­ates the fire­work of mu­sic in its latent form, and also pro­duces our mu­si­cal ideas in the form of in­di­vid­ual flashes of thought – just as the spec­tral col­ours are gen­er­ated from light and in­ter­woven in mani­fold ways.
There­fore it is a fur­ther fun­da­men­tal step in prac­ti­cal mu­sic edu­ca­tion to de­velop, on the level of the mind, that com­pre­hen­sive ba­sic vi­bra­tion which de­ter­mines the mul­ti­plic­ity of the mu­si­cal work right from the be­gin­ning, and which si­mul­ta­ne­ously pre­vents its ele­ments from col­laps­ing and the com­po­si­tion from be­com­ing mo­noto­nous.

This de­vel­op­ment of the per­fect, multi-struc­tured sound-sub­stance on the level of the mind is based on the sys­tem­atic, sci­en­tifi­cally founded cul­ti­va­tion of our hu­man un­der­stand­ing.

With­out this com­po­nent of un­der­stand­ing and with­out its well-di­rected ap­pli­ca­tion un­der the di­rect guid­ance of the self-aware­ness, the com­poser is not able to con­sciously com­pose; and ho­lis­tic, har­mo­ni­ous, mani­fold, mean­ing­ful mu­sic would never be stimu­lated within him – let alone be heard inside or even con­veyed out­side.