In the mu­si­cal proc­ess of gain­ing knowl­edge the art of rea­son­ing lies in the lis­tener con­clud­ing from a level of lower mu­si­cal knowl­edge to a level of higher mu­si­cal knowl­edge – from a level of lower mu­si­cal or­der to a level of higher mu­si­cal or­der.
This proc­ess of gain­ing knowl­edge in mu­sic we also call the proc­ess of mu­si­cal re­fine­ment – the proc­ess of tran­scend­ing mu­si­cal or­ders; and on the level of our mind we also call it gen­er­ally the proc­ess of tran­scend­ing.

The art of draw­ing con­clu­sions in mu­sic sys­tem­ati­cally leads us lis­ten­ers into the depth of the mu­si­cal mean­ing.

By vir­tue of our fac­ulty of logic, we con­clude in a sys­tem­atic proc­ess of know­ing from the or­der of the tones, that re­sound in the mu­si­cal sound-space, the in­au­dible mo­tifs in­her­ent in the tones.
We no­tice more and more clearly that in the mu­si­cal sound-space the tones move on very dis­tinct orbits.

We per­ceive more and more clearly that these orbits are not pe­ri­odi­cal, and that they are not sim­ply non-pe­ri­odi­cal ei­ther, but that their change is mean­ing­ful, that they are re­lated to each other.
And with good rea­son we there­fore con­clude that they must be gov­erned by forces of a higher or­der.

And by ex­amin­ing with our awak­en­ing un­der­stand­ing these forces of a higher or­der, which seem to gov­ern the mu­si­cal tone-space from within, we fi­nally rec­og­nize the force-fields of the mo­tifs, and we per­ceive the mo­tifs in the tonal frames as if in bod­ies.
We com­pre­hend them with the same sim­ple in­sight as we rec­og­nize the in­di­vid­ual char­ac­ter that dwells in the body of a liv­ing be­ing.

In the course of the mu­si­cal event, we gradu­ally be­come more fa­mil­iar with the forces of the mu­si­cal mo­tifs, for we real­ize how they move the tones as their ce­les­tial bod­ies in the fir­ma­ment of mu­sic; and sud­denly we dis­cover in the mo­tifs the natu­ral in­di­vid­ual forces of liv­ing be­ings il­lus­trated – our own in­di­vid­ual hu­man forces.

Also we no­tice that, as it un­folds in the melody, the mu­si­cal motif not only rules those tones that di­rectly sur­round it – that it is not con­cerned with its own body alone; but we real­ize that the motif also plays with the tones of other mo­tifs.
In­deed, even­tu­ally we even dis­cover a di­rect in­di­vid­ual in­ter­play be­tween the mo­tifs them­selves.

At this moment of our proc­ess of gain­ing knowl­edge in mu­sic, we lis­ten­ers have al­ready left the ma­te­rial-physi­cal world of the mu­si­cal sound-space.
Our focus is now mainly on the in­au­dible, yet so pow­er­ful in­di­vid­ual forces of the mo­tifs.

And step by step, by focussing more and more on the mu­si­cal play of these motif forces among them­selves, and by dis­cov­er­ing in it the in­ter­play of in­di­vid­uals in gen­eral – our own in­ter­play with the in­di­vid­uals around us – we fi­nally real­ize that we our­selves are de­scribed in more and more mo­tifs, those mu­si­cal de­scrip­tions of in­di­vid­ual hu­man forces.

Even­tu­ally, we reach a point where we can no longer dis­tin­guish whether we as­soci­ate only with this motif or also with that motif – with these or with those forces of our in­di­vid­ual un­fold­ment. Then we find our­selves in the po­lyph­ony, walk­ing many ways of in­di­vid­ual un­fold­ment si­mul­ta­ne­ously, thus ad­vanc­ing into the mu­si­cal force-fields of the se­quences.
Just as a mother or a fa­ther see them­selves un­folded in their chil­dren, we now see our­selves pic­tured with our very per­sonal quali­ties in the many mu­si­cal un­fold­ments of the mo­tifs.