The field of teach­ing clas­si­cal com­po­si­tion is not the field of mu­sic but rather the tech­nique of skil­fully han­dling the in­ner-hu­man world of feel­ing and think­ing: in the art of turn­ing, within our­selves and within oth­ers, wrath into joy and de­pres­sion into hap­pi­ness.

Origi­nal clas­si­cal mu­sic de­scribes the play­ful mas­tery over the battlefield of our in­ner-hu­man forces at the height of di­vine ac­com­plish­ment. By demonstrat­ing to us lis­ten­ers the skilled, ethi­cally pure han­dling of the pow­ers lively within us, it in­spires us to un­fold our own char­ac­ter to­wards natu­ral joy of life.

No other me­dium can de­fine an in­ner-hu­man qual­ity so clearly as a mu­si­cal motif, be­cause the mu­si­cal motif en­com­passes our world of feel­ing and un­der­stand­ing, and is ca­pa­ble of enli­ven­ing space and time in an in­te­grated man­ner.

Here mu­sic proves to be the ap­pro­pri­ate, un­equalled, men­tal nour­ish­ment for the ob­jec­tive un­der­stand­ing of our hu­man quali­ties, but also as a lively tool to in­di­vidu­ally gain mas­tery over our in­ner world of feel­ing and un­der­stand­ing.

In the analy­sis of mo­tifs as well as of the motif-tech­nique, the con­ven­tion­ally trained mu­sic analyst wants to un­der­stand tones only by quan­tity, by meas­ur­ing their outer “weight” – just as if a bi­olo­gist would only weigh the bones of a liv­ing man, even though the weight of our bones con­tains only lit­tle in­for­ma­tion about our prac­ti­cal life.

In gen­eral, the new sci­en­tific meth­ods of re­search de­fine the crea­tive cri­te­ria of a dis­ci­pline far more pre­cise. There­fore the lis­tener of to­day is no longer con­tent with only an out­ward ap­proach to an ac­tu­ally in­ner sub­ject matter, and thus de­mands an ade­quate in­ner vi­sion from the mu­sic analyst.

By con­cept, mu­sic analy­sis then is no longer only an outer study but, first of all, the sys­tem­atic in­ves­ti­ga­tion into the field of our in­ner-hu­man knowl­edge.