There are three kinds of equivo­ca­tion:

The knowl­edge of the sepa­ra­tion of the ab­so­lu­te mu­si­cal world from the rela­tive force-fields of mu­sic, the ex­peri­ence of a di­vergence of the unlim­ited mu­si­cal force-field of the har­mony and the mu­si­cal worlds of the se­quences, mo­tifs and tones, re­sulted in a two­fold, com­pletely dif­fer­ent in­ter­pre­ta­tion of the sphere of mu­sic.

In the course of our rela­tive proc­ess of gain­ing knowl­edge in mu­sic we lis­ten­ers sys­tem­ati­cally fath­omed the mu­si­cal world for the truth which, we thought, was hid­den in it.
Thor­oughly con­vinced and in all ear­nestness we went the path of gain­ing real knowl­edge in mu­sic, and in­deed, we dis­cov­ered more and more com­pre­hen­sive truths.

Start­ing from the mu­si­cal sound-space, we passed step by step through the mu­si­cal force-fields, which we per­ceived as real; and through the motif world and the se­quence world we ad­vanced to the world of the har­mony.

To us lis­ten­ers, this mu­si­cal path of knowl­edge was our own re­al­ity of the sys­tem­ati­cal mu­si­cal proc­ess of gain­ing knowl­edge, and eve­ry sin­gle in­sight into the mu­si­cal mean­ing showed us new and very real for­ma­tive forces of mu­si­cal struc­tural change that ex­isted in the more subtle, more en­er­getic fields of mu­si­cal forces.

Thus we took our rela­tive mu­si­cal proc­ess of gain­ing knowl­edge for a very real proc­ess of apprehend­ing the mu­si­cal mean­ing.
And never the thought would have en­tered our mind that this very proc­ess of mu­si­cal de­vel­op­ment, so dis­tinctly and clearly per­ceived by us, could be com­pletely un­real.

Now that we have reached the ab­so­lu­te mu­si­cal field of knowl­edge of the har­mony, and now that we are crea­tors of mu­sic, our proc­ess of deduc­tion is com­pletely dif­fer­ent.

Now, it would never occur to us that the per­fect mu­si­cal ex­peri­ence, which we make with such un­be­liev­able alert­ness be­yond space and time, could be con­sid­ered un­real by anyone.

For, we real­ize very clearly: a mu­sic, more real than the one we ex­peri­ence now, sim­ply does not exist.

And still we must keep in mind, that we thought this com­pre­hen­sive ex­peri­ence of mu­sic in the field of the har­mony im­pos­si­ble, as long as we were miss­ing this very ex­peri­ence dur­ing our rela­tive proc­ess of gain­ing knowl­edge in mu­sic.