In particular, the process of cognition relies on the musical enlivenment and stimulation of our self-awareness, which is achieved through our tools of cognition, feeling and understanding, and which gradually puts us listeners into the role of a creator of music.

The integration of these three simultaneous processes in the process of gaining knowledge makes up the entirety of our gaining knowledge in music.
And at different times of the whole process, sometimes the one, and sometimes the other of these three processes dominates.

At the beginning of every hearing process in a concert of classical music, first of all the outer hearing dominates, and only then the projection of the acoustic tone pattern in our mental space.

But very gradually the intellectual faculty of discrimination of our understanding and the intellectual faculty of synthesis of our feeling gain influence, and we enter the inner creative worlds of music - first the inner sound-spaces, then the motif-spaces, then the sequence-spaces, and finally the infinite space of the harmony.

In this moment, our inner breath is stimulated by the inner breath of the music to flow, and its enlivening winds permeate our mind and make it vibrate as the absolute sound-substance.

As soon as our mind has structurally been raised in this manner to the value of comprehensive cosmic function, its process of knowing also assumes the function of cosmic achievement: on the level of unity we perceive all the diversity of music as a dynamic continuum beyond space and time, and we experience every individual aspect as an integrative part of the whole.

Only now our self-consciousness gains the sympathetic, life-supporting environment which it needs for its personal free unfoldment, and it begins to stir deep within us; it becomes creatively active and enters the realms of our mind which swing in unity.

In this moment our self-consciousness assumes the free rulership over our tools of cognition, assumes the coordinated rulership over feeling and understanding and determines with these, as its formative forces, all further musical development.