The na­ture of true clas­si­cal mu­sic is such that, even at its root, it rules out such ef­fects be­cause it is ca­pa­ble of bring­ing ful­fil­ment to our search for knowl­edge.
Origi­nal clas­si­cal mu­sic aims at the in­te­grated knowl­edge of the mu­si­cal truth be­yond space and time and of the mu­si­cal re­al­ity within space and time, and it is able to con­jure up this knowl­edge in a keen lis­tener.

In the proc­ess of gain­ing mu­si­cal cog­ni­tion, there­fore, doubt re­sults only from the in­abil­ity to com­pre­hend the natu­ral un­ion of the two given mu­si­cal full­nesses, and this lack of in­sight leaves the lis­tener be­hind unsat­is­fied on his path of gain­ing knowl­edge in mu­sic.

How­ever, the pur­pose proper of gain­ing mu­si­cal knowl­edge is to melt these two full­nesses – the one we ex­plore by lis­ten­ing to mu­sic, and the one which re­veals it­self to us when we cre­ate mu­sic – into a sin­gle full­ness, to make one com­mon full­ness out of two full­nesses.

In­deed, dis­pel­ling any doubt in the lis­tener is the pur­pose of true clas­si­cal mu­sic, which arises from a state of doubt­less­ness in the com­poser, from the natu­ral state of unity – sus­tained by his continu­ous per­cep­tion of the vi­brat­ing ab­so­lu­te sound-sub­stance in his own mu­si­cal tools of cog­ni­tion.