Sim­ply by as­cer­taining how pleas­ant his own mu­si­cal thought is to him­self, his feel­ing in­forms the com­poser about the ef­fect of his thought on its sur­round­ings. Thus, through the proc­ess of feel­ing, the dis­crimi­nat­ing in­tel­lect of the mu­si­cal crea­tor ana­lyzes the ef­fect of his mu­si­cal thought on its en­vi­ron­ment. The fac­ulty of un­der­stand­ing of his in­tel­lect ana­lyzes the spec­trum of his mu­si­cal thought, and iden­ti­fies the emo­tional pa­rame­ters which impel it.

His in­tel­lect, with the help of the feel­ing in­her­ent in it, ex­am­ines the in­te­gra­tion of these mu­si­cal pa­rame­ters and de­ter­mines the har­mo­ni­ous de­vel­op­ment of the com­po­si­tion: the in­ner mu­si­cal event, as per­ceived by the sense of hear­ing, is the sound­ing tes­ti­mony of this proc­ess, and it heralds hu­man feel­ing and un­der­stand­ing.

Thus, the com­poser uses his mind as a me­dium to por­tray the mu­si­cal sound-space: to de­scribe his own sub­jec­tive sphere.

In this way, for the mu­si­cal crea­tor, the ob­jec­tive mu­si­cal sound-space, that which sounds inside, be­comes the in­stru­ment for de­scrib­ing the sub­jec­tive in gen­eral.

The natu­ral proc­ess of com­pos­ing arises all by it­self, and it ends with the mu­si­cal crea­tor per­form­ing, and si­mul­ta­ne­ously lis­ten­ing, to his own con­cert within him­self.

The com­poser submits this proc­ess of his mu­si­cal think­ing to the natu­ral, in­ner­most con­trol of his feel­ing and un­der­stand­ing, and this is his own in­ner act of will.

This con­scious, in­ner act of the com­poser cre­at­ing mu­sic in his aware­ness be­comes later on a mani­fold in­spi­ra­tion for the mu­sic lover striv­ing to­wards uni­ver­sal joy of life;

In this way a mani­fold struc­ture of mu­si­cal or­ders origi­nates within the com­poser’s in­ner world of cog­ni­tion, and his or­ga­niz­ing un­der­stand­ing, un­der the guid­ance of his feel­ing, di­rects this in­ner mu­si­cal course of evo­lu­tion.