How­ever, this in­te­gra­tion of feel­ing and un­der­stand­ing is so vi­tal to the mu­si­cian for yet an­other rea­son: a bal­anced re­la­tion­ship be­tween the warm­ing force of the feel­ing and the cool­ing force of the un­der­stand­ing within the com­po­si­tion – so that the lis­tener is not over­thrown by un­con­trolled ice-cold or glow­ing-hot waves, which would unneccessarily shock his in­ner per­cep­tion.

There­fore, it is a fur­ther fun­da­men­tal step in prac­ti­cal mu­sic edu­ca­tion to de­velop the co­ordi­nat­ing power of the in­tel­lect which takes a har­mo­niz­ing, me­diating po­si­tion be­tween the in­te­gra­tive feel­ing and the dif­fer­en­tiat­ing un­der­stand­ing, and which fur­ther­more keeps the mu­si­cal ele­ments to­gether as well as apart – those ele­ments which have been dis­tin­guished from one an­other by the power of dif­fer­en­tia­tion.

This will be the sys­tem­atic, sci­en­tifi­cally founded cul­ti­va­tion of the co­ordi­na­tive func­tion­ing of our in­tel­lect.

With­out this as­pect of co­or­di­na­tion be­tween the feel­ing and un­der­stand­ing, and with­out its well-di­rected ap­pli­ca­tion un­der the di­rect guid­ance of the self-aware­ness, the mu­si­cal art­ist is not able to com­pose in a har­mo­niz­ing, ho­lis­tic and mean­ing­ful man­ner, be­cause:

Only the in­te­grated ap­pli­ca­tion of feel­ing and un­der-stand­ing by the com­poser and by the per­for­mer will cre­ate an enli­vened im­pres­sion of per­fec­tion within the lis­tener.

For the mu­sic-lover this reve­la­tion of per­fec­tion is truly ful­fill­ing and con­vinces him of the di­vine spark within man. Thereby he gains an in­ner, gen­eral, hu­man sta­bil­ity, and per­son­ally un­per­turbed by doubts he gains in­sight into the po­ten­tial of hu­man-di­vine free­dom.