Once the lis­tener knows the natu­ral mu­si­cal ex­peri­ence of a mu­sic crea­tor, then it is his de­sire to sta­bi­lize this world of ex­peri­ence within him­self, too.

Only af­ter hav­ing adopted this in­ner art of self-knowl­edge, learn­ing the outer craft of mu­sic makes sense to him.
Then he can as­sume the re­spon­si­bil­ity to in­spire oth­ers for higher knowl­edge, in­deed, for the su­preme self-cog­ni­tion with which he has now be­come fa­mil­iar him­self.

Mu­sic knows the in­di­rect as well as the di­rect way of gain­ing knowl­edge.
Re­lat­ing both to our tools of cog­ni­tion, we find very dif­fer­ent cir­cum­stances re­sult­ing from the in­di­rectness or the di­rectness of our gain­ing knowl­edge.

Our outer ear, for ex­ample, per­ceives the tone di­rectly in the acous­tic space and trans­mits the in­for­ma­tion of the tone struc­ture to our mind. The mind cre­ates a re­flec­tion of this tone, and our in­ner sense of hear­ing per­ceives this re­flec­tion of tone.
While our outer ear per­ceives the tone in the acous­tic space di­rectly, our in­ner ear rec­og­nizes this tone only in­di­rectly through its replica in our mind.

Our in­ner or­gan of hear­ing conveys the in­for­ma­tion of the sound to our in­tel­lect, and our un­der­stand­ing infers the pa­rame­ters which de­ter­mine the tone struc­ture – for ex­ample, the pitch, the pro­por­tion of the over­tones, the volume and with it the volume of the in­di­vid­ual over­tones, the du­ra­tion of the in­di­vid­ual over­tones, and so on.

From our in­ner sense of hear­ing our feel­ing gathers the in­for­ma­tion as to the de­gree of den­sity of the in­for­ma­tion, and of the warmth that is pre­sent in the sound­ing event – and thus, also of the malleabil­ity of the sound.

Our un­der­stand­ing and our feel­ing evalu­ate the in­for­ma­tion on the sound qual­ity which flows to them from our sense of hear­ing, and these tools of cog­ni­tion, too, re­ceive this knowl­edge about the sound only in­di­rectly – in the fourth de­gree, while the in­ner sense of hear­ing still re­ceived a third-de­gree in­for­ma­tion from the mind.
(Our outer or­gan of hear­ing, our ear, gath­ered a first-de­gree in­for­ma­tion of the sound from the acous­tic space; our mind gath­ered a sec­ond-de­gree sound-in­for­ma­tion from the neu­ro­physi­ol­ogy of the ear; our in­ner sense of hear­ing gath­ered a third-de­gree sound-in­for­ma­tion from our mind, and now our feel­ing and un­der­stand­ing gather from our in­ner sense of hear­ing a fourth-de­gree in­for­ma­tion.)

Our in­tel­lect hands over to our self-con­scious­ness the in­for­ma­tion that flows to it through feel­ing and un­der­stand­ing along with the re­sults of its ex­ami­na­tions.
At eve­ry step of this flow of in­for­ma­tion through our tools of cog­ni­tion, through our in­tel­lect – through our mind, through our in­ner sense of hear­ing, and through feel­ing and un­der­stand­ing – to our self-aware­ness, the in­for­ma­tion about the tone is sub­jected to change, or to a fil­ter­ing.

Our outer or­gan of hear­ing draws from the sound, that reverberates in the acous­tic space, only as much in­for­ma­tion as it is ca­pa­ble of per­ceiv­ing, and here the thresh­old of hear­ing rep­re­sents its natu­ral limit.

Our mind, in turn, rep­re­sents only as much of the acous­tic event as it is ca­pa­ble of rep­re­sent­ing, and the accuracy of its rep­re­sen­ta­tion de­pends on the op­era­tional qual­ity of the neu­ro­physi­ol­ogy – i.e. on the de­gree of our neu­ro­physi­ologi­cal in­te­gra­tion.

If the sound, which reverberates in the acous­tic space and which is trans­mit­ted via our outer or­gan of hear­ing to our mind, is very com­plex, and if its pa­rame­ters change in a very subtle man­ner, then it may well happen that our mind does not pro­duce a replica of a sound equally subtly struc­tured, be­cause our neu­ro­physi­ol­ogy can­not trans­mit to our mind fast enough all the mani­fold ele­ments of the tonal struc­tural change as it evolves.

In such a case, only a quasi simi­lar tone is gen­er­ated in our mind, a sound with a simplified pat­tern, which has aban­doned many in­di­vid­ual com­po­nents of the sound – fine nuances of its shape.
Thus, the sound which reverberates in all its di­ver­sity in the acous­tic space, does not really reach our mind.