As long as we search for truth in the lim­ited field of the mu­si­cal forces, we will be­lieve that higher mu­si­cal fields of cog­ni­tion exist and that we can reach them on our way of knowl­edge.
In this state of rela­tive mu­si­cal cog­ni­tion only the im­me­di­ate, lim­ited mu­si­cal struc­ture ac­tu­ally exists for us, and based on our ex­peri­ence of the tonal rep­re­sen­ta­tion we ini­tially per­ceive only the world of the mu­si­cal sound-space ex­ist­ing; the motif-space still re­mains closed to us.

When we have en­tered the mu­si­cal motif-space later in the pro­gress of our mu­si­cal know­ing, then we can take the re­al­ity of the mo­tifs for gran­ted; the world of the se­quences, how­ever, is still closed to us.
Even­tu­ally, when we have en­tered the mu­si­cal force-field of the se­quence by cog­ni­tion, then the se­quences appear to us as a re­al­ity, and yet the in­fi­nite force-fields of the har­mony remain to be dis­cov­ered.

When, dur­ing our proc­ess of cog­ni­tion, we de­duced the motif-space from the mu­si­cal sound-space, we did so by our abil­ity of be­lief.
Ini­tially, we be­lieved only very gen­er­ally in the ex­is­tence of sub­tler forces which gov­ern the mu­si­cal sound-space from within.

This be­lief en­cour­aged our mu­si­cal proc­ess of cog­ni­tion and speeded our entry into the world of the mo­tifs.

Hav­ing reached the mu­si­cal force-field of the mo­tifs, our be­lief turned into con­fi­dence; it so turned out that the in­ner world of forces in the mu­si­cal sound-space, so far only as­sumed, really exists – that there are forces which, from a field of a higher mu­si­cal or­der, di­rect the ele­ments of the mu­si­cal tone-space, the tones, in their move­ment, in their struc­tural changes.

In the same man­ner, we pro­ceeded fur­ther into the higher mu­si­cal fields of cog­ni­tion, and going through the motif-space and the se­quence-space, we fi­nally ar­rived at the in­fi­nite mu­si­cal space of the har­mony.
Si­mul­ta­ne­ously, our be­lief in each new mu­si­cal force-field re­spec­tively turned into con­fi­dence; what used to be an as­sump­tion or hy­pothe­sis so far, turned into per­sonal proof: the in­ner force-fields, only as­sumed so far, in­deed ex­isted in re­al­ity.

Once we have reached the world of the har­mony, we per­ceive very dis­tinctly that this ab­so­lu­te mu­si­cal force-field of the har­mony alone truly exists – that in con­trast to that, the rela­tive force-fields, which we had taken for so real so far, in re­al­ity do not exist at all but are rather a mirage-like ex­pres­sion of the to­tal mu­si­cal re­al­ity within the ab­so­lu­te field of the har­mony.

This be­ing so, we even have to make our­selves be­lieve – just to put some sense into our mak­ing mu­sic – that mu­si­cal truth can be found in the rela­tive mu­si­cal proc­ess.
For, as we cog­nize in the ab­so­lu­te force-field of the har­mony and draw from it, our very clear ex­peri­ence is: that, be­ing a mere re­flec­tion of this per­fect, ab­so­lu­te force-field of mu­sic, the re­stricted, rela­tive mu­si­cal force-field is in re­al­ity not at all existant.

Logi­cally, af­ter such ex­peri­ence, we should ex­pect our­selves to re­frain from ac­tion in that shad­owy world in the first place; for what can we ex­pect from such pseudo acts? Our ab­so­lu­te mu­si­cal world of the har­mony alone has true value.

But from our per­sonal ex­peri­ence we know that we went in steps of knowl­edge from the lim­ited mu­si­cal proc­ess of gain­ing knowl­edge to this in­fi­nite space of the har­mony, and that there­fore it should well be pos­si­ble to make the in­fi­nite value of the har­mony shine through in the rela­tive mu­si­cal proc­ess of cog­ni­tion – even in a quasi imagi­nary form.

This we know from our past ex­peri­ence, for we have gradu­ally per­ceived the ab­so­lu­te mu­si­cal force-field of the har­mony our­selves dur­ing our rela­tive mu­si­cal proc­ess of know­ing.
But look­ing out from the height of our pre­sent stand­point in the har­mony to the rela­tive worlds of mu­sic, our very per­sonal im­pres­sion is that, com­pared with the real, ab­so­lu­te, mu­si­cal force-field of the har­mony, these sphe­res have no real value of their own.

This we know from our past ex­peri­ence, for we have gradu­ally per­ceived the ab­so­lu­te mu­si­cal force-field of the har­mony our­selves dur­ing our rela­tive mu­si­cal proc­ess of know­ing.
But look­ing out from the height of our pre­sent stand­point in the har­mony to the rela­tive worlds of mu­sic, our very per­sonal im­pres­sion is that, com­pared with the real, ab­so­lu­te, mu­si­cal force-field of the har­mony, these sphe­res have no real value of their own.

And with our rela­tive and ab­so­lu­te mu­si­cal ex­peri­ence di­verg­ing, we hoped like be­liev­ers to suc­ceed in pic­tur­ing the ab­so­lu­te mu­si­cal re­al­ity in the rela­tive lim­ited mu­si­cal proc­ess of know­ing.