Through the in­tel­lect as the tool, the self-aware­ness of the com­poser uses the mind, and through the co­or­di­na­tion of feel­ing and un­der­stand­ing he rules it in a com­pletely natu­ral way.

The mind is that sub­stance, that ma­te­rial from which each in­di­vid­ual thought is made – in­clud­ing the mu­si­cal thought. Just as the smith heats the iron in a forge, shapes it while it is hot and then hard­ens it with cold – thus giv­ing the form durabil­ity – in the same man­ner the self warms the ma­te­rial of the mind in the forge of the feel­ing, shapes it through the co­or­di­nated func­tion of feel­ing and un­der­stand­ing, and fi­nally hard­ens it – that is, gives durabil­ity to the thought through the cool­ing ef­fect of the un­der­stand­ing.

This continu­ous forg­ing and reforg­ing of a thought into ever new shapes by add­ing heat and cold, and heat and cold suc­ces­sively, is the me­chani­cal proc­ess of cre­at­ing mu­sic on the level of the mind. And af­ter this proc­ess of the crea­tive shap­ing of thought the mind de­livers the com­plete mu­si­cal sound pat­tern to the self-aware­ness of the com­poser.

Like a feeler, the sense of hear­ing pal­pates the shape of the mu­si­cal thought and sur­veys its con­tent of warmth or cold. With this in­for­ma­tion of the thought-struc­ture, the self-aware­ness of the com­poser hears the com­plete mu­si­cal sound pat­tern, and from the in­for­ma­tion on the thought-tem­pera­ture the self-aware­ness evalu­ates the po­ten­tial for fur­ther sound­ing di­ver­sity.

Dur­ing this in­ner con­cert, which is di­rected to­wards greater and greater ful­ness, the self-aware­ness ex­peri­ences a pow­er­ful joy, and if it de­sires to en­hance this joy even fur­ther, it in­creases the co­or­di­na­tion be­tween feel­ing and un­der­stand­ing, and the mind, through the sense of hear­ing, de­livers to the self a mu­si­cal image of an even greater per­fec­tion, of even greater va­ri­ety, and of even stronger unity: a more com­pre­hen­sive har­mony.

Apart from the fact that the self-aware­ness re­joices in this self-cre­ated in­ner con­cert, the sense of hear­ing, while re­ceiv­ing more subtle men­tal-mu­si­cal in­for­ma­tion, be­comes stronger through the en­ergy con­tained in this thought-sub­stance and be­comes more and more re­freshed through the in­tel­li­gence con­tained in this thought-struc­ture. Thus the ca­pa­bil­ity of the sense of hear­ing in con­vey­ing in­for­ma­tion is con­sid­era­bly im­proved, which in turn unites it even closer with its em­ployer, the self-aware­ness.

The di­rect, free sov­er­eignty of the self-aware­ness over the mind, the free sov­er­eignty of the self-aware­ness over the sense of hear­ing, and the struc­tural analy­sis of the ef­fect of the mind, or rather the ef­fect of a mu­si­cal thought pro­duced from it, on its en­vi­ron­ment – on the physi­ol­ogy of the mu­si­cian, and on the lis­tener – is the foun­da­tion for any sort of mean­ing­ful mu­si­cal ac­tiv­ity and is the natu­ral basis for an au­then­tic in­ter­pre­ta­tion; for, if the in­ter­preter does not cre­ate au­then­ti­cally as well, the ef­fect of the origi­nal will not be achieved; the mu­si­cal truth will not be con­veyed and the in­ner, joyful, ful­fill­ing as­ton­ish­ment of the lis­tener will be miss­ing.

There­fore, true mu­si­cal edu­ca­tion be­gins deep within the life of the art­ist him­self; and here also lies the key to his in­flu­ence of hu­man dig­nity upon his en­vi­ron­ment. The in­te­grated mas­tery over all these above-men­tioned tech­nolo­gies must be learned per­fectly, so that it can be ap­plied con­sciously and natu­rally.

“Natu­rally” here stands for “ar­tis­ti­cally” and “skil­fully” (as dif­fer­ent from mere “af­fectedly”), that is with­out strain and com­pletely play­fully.

“Cre­at­ing natu­rally” means to ad­vance, with­out per­sonal im­pedi­ments, to new worlds and to leave old worlds be­hind while vi­va­ciously and fear­lessly over­com­ing pos­si­ble ob­sta­cles of one’s own in­ner re­sis­tance.