How­ever, we find yet an­other kind of su­per­fi­cial deduc­tion, namely the deduc­tion of a sur­face from the con­tent, and this refers to the crea­tive proc­ess in mu­sic as it ex­tends from the ab­so­lu­te force-field of the har­mony through the se­quence-spaces and the motif-spaces into the mu­si­cal sound-space.

In this case, the con­tent of the mu­sic – the in­fi­nitely con­densed, uni­ver­sal, mu­si­cal mul­ti­plic­ity of the har­mony – is sys­tem­ati­cally made grosser, and in the course of this “cre­at­ing” it ap­pears as the mu­si­cal crea­tion of a com­poser.

These two kinds of su­per­fi­cial deduc­tion cor­re­spond ei­ther to a deduc­tion from our stand­point as mu­sic lis­ten­ers, or to a deduc­tion from our stand­point as mu­sic crea­tors.
In the dissimi­lar­ity of their deduc­tion they are very natu­rally rooted in the dissimi­lar­ity of our states of knowl­edge.