In its first phase, our proc­ess of gain­ing knowl­edge in mu­sic is of em­piri­cal na­ture.
This is the stage on which we lis­ten­ers com­pre­hend the outer sound­ing mu­si­cal work in terms of its struc­ture.

In its nar­row­ness, how­ever, this em­piri­cal com­pre­hen­sion is di­rectly ex­panded when our in­tel­lect be­gins to ex­am­ine the tonal pat­terns for their mu­si­cal con­tent when it veri­fies and validates them.

Our in­tel­lect then conveys the re­sults of its eval­ua­tion to our self-aware­ness; and our self-aware­ness starts, on its own and com­pletely natu­rally, with per­fect­ing the mu­si­cal state­ment.
In do­ing so, our self-aware­ness com­pares the in­sights con­veyed by the in­tel­lect with its own na­ture with our very own in­sights, thus put­ting our own in­her­ent fac­ul­ties of cog­ni­tion to natu­ral, mu­si­cal-crea­tive ac­tion.

Hereby, our self-aware­ness uses the in­for­ma­tion of the mu­sic re­ver­ber­at­ing out­side as a pat­tern of as­so­cia­tion, im­per­fect though it may be, to stimu­late the tonal pat­terns of as­so­cia­tion, which exist in us al­ready in a latent and more per­fect form, to vibrate.

Stimu­lated in that way, the cog­ni­tive fac­ul­ties of our in­tel­lect get crea­tively ac­tive to pro­vide our self-aware­ness with a more com­plete, more har­mo­ni­ous mu­si­cal pic­ture than the outer per­form­ance af­fords.

Thus, by means of the for­ma­tive forces of our in­tel­lect un­der their con­trol, the crea­tive forces of our self-aware­ness struc­ture the se­quence-space, the motif-space, and the mu­si­cal sound-space from within its own natu­ral har­mony, and di­rected out­wardly to­wards our mind.
Fi­nally the con­cert reverberates in the mind of the “crea­tive mu­sic lis­tener” in its per­fec­tion.

In this way, our self-aware­ness, and also our feel­ing and our un­der­stand­ing, are sat­is­fied and enjoy the live mu­si­cal truth which now forms a har­mo­ni­ous, mani­fold un­ion in the re­sound­ing spaces of our mind.

The “com­pari­son” of the outer mu­si­cal in­ter­pre­ta­tion with the lively art of tones rooted in our self-aware­ness is in es­sence draw­ing from some­thing in­wardly ex­ist­ing, and there­fore it is not cre­at­ing some­thing really new.
This func­tion of “com­pari­son” cor­re­sponds much rather to dis­cov­er­ing a mu­si­cal re­al­ity which al­ready exists and which swings within the si­lence; “cre­at­ing” there­fore cor­re­sponds here rather to “re­mem­ber­ing” through out­side stimu­la­tion but not to the con­cep­tion of some­thing truly new.