For an in­crease of per­form­ance in our mu­si­cal hear­ing our self-con­scious­ness is there­fore the first sta­tion.

Our self-aware­ness must be trained sys­tem­ati­cally to iden­tify it­self with it­self – to know it­self, to know its in­fi­nitely mani­fold, ex­tremely flexi­ble sound quali­ties.
As it prac­tises, our self-con­scious­ness must com­pre­hend its po­ten­tial to most per­fectly struc­ture the tone.

Com­pared to all other tools of cog­ni­tion, our self-con­scious­ness is that or­gan which by na­ture pos­sesses the larg­est de­gree of en­ergy and in­tel­li­gence.
This means that, within it­self, it has the po­ten­tial for the most com­plete struc­tural for­ma­tion of tones, as well as for the clar­ity of rep­re­sen­ta­tion, and for the com­plex in­te­grated struc­tural change of the tones.

Within our self-con­scious­ness al­ready we find a vary­ing struc­tural den­sity.
If, in our self-aware­ness, lim­ited in­di­vid­ual aware­ness domi­nates cos­mic con­scious­ness – the unlim­ited, the uni­ver­sal self-aware­ness – then its av­er­age den­sity is lower.

If the uni­ver­sal self-aware­ness domi­nates the lim­ited in­di­vid­ual one, then its av­er­age den­sity is higher.

So, cos­mic self-aware­ness in­cludes the po­ten­tial of the en­tire art of sound, while the in­di­vid­ual self-aware­ness in­cludes only the po­ten­tial for sin­gle mu­si­cal works.