The rela­tive mu­si­cal proc­ess of know­ing, we find, is a sys­tem­atic scanning of the mu­si­cal sur­face, an analy­sis of the outer mu­si­cal shape.

This su­per­fi­cial deduc­tion leads us lis­ten­ers sys­tem­ati­cally from the mu­si­cal form to the mu­si­cal mean­ing.
This means that here, dur­ing the rela­tive mu­si­cal proc­ess of gain­ing knowl­edge, the form is sys­tem­ati­cally trans­formed into the mean­ing.

Su­per­fi­cial deduc­tion, or the deduc­tion on the level of the sur­face-struc­tures of mu­sic re­spec­tively, there­fore is to us the ap­pro­pri­ate tech­nique to gain rela­tive mu­si­cal knowl­edge, and leads the lis­tener from the sur­face-struc­tures of the mu­si­cal sound-space to its depths, in that it al­lows the lis­tener to sys­tem­ati­cally refine the mu­si­cal sur­face-struc­ture un­til it has reached such a de­gree of sub­tlety that it be­longs struc­tur­ally to the world of the mo­tifs, and is iden­ti­fied by him as such.

This proc­ess of sys­tem­ati­cally re­fin­ing the sur­face-struc­ture in the mu­si­cal fields of cog­ni­tion we now un­der­stand as the ex­trac­tion of the mu­si­cal sense, and it is based prac­ti­cally on a re­fine­ment of the tools of cog­ni­tion with our lis­tener, a re­fine­ment which is brought about by the en­er­gies that are in­creas­ingly re­leased in these tools as the mu­sic un­folds.