The listener’s skilful, coordinated use of his cognitive tools plays the key role in the musical process of cognition and concerns the competent use of the golden-silvery net of our emotional and intellectual finding truth in music. And as he unfolds his musical poetry, the composer educates the listener in a very subtle manner to skilfully use this net of cognition.

In the musical coordination of individual cognitive forces the pattern of the net of knowledge is traced out for the listener by the composer.
By carefully emphasizing selected principles of the musical logic he enlivens this net of cognition within the listener as he listens to the music, and puts it in action.

The kind of enlivenment is based on the inner logic of the compositional unfoldment within the tone-technique, the motif-technique, the melody-technique, the sequence-technique, and the harmony-technique - in the same manner as the composer has woven it into his work.

And by permanently changing, refining, ennobling, and gilding the proportions of the original cognitive pattern in his work, he stimulates a corresponding systematic process of refinement in the listener’s world of cognition, thus taking him along on the path of knowledge which he had walked off before, and which safely leads to the musical truth.

On the one hand, then, the process of gaining knowledge in music is of a quasi mechanistic kind, since the mind of the listener is stimulated from outside to vibrate - according to a pattern set out in the composition.

But on the other hand, the process of knowing is at the same time of a pedagogical kind, because the intellect of the knower, his feeling and his understanding, are made familiar in a very systematic manner with the musical patterns of a higher order - in a manner so unobtrusive and discreet that the listener often hardly feels the one guiding him, and at best has a faint idea of him.