Thus, music depicts the range of knowledge of our ecology in the force-field of the musical tone-space, the field of individual knowledge it displays in the motif-space, and the world of social knowledge it illustrates in the musical force-field of the sequence-space; but the perfect functioning of nature in its entirety is displayed, in a superior or better in a “super-natural” sense, too, by music in the space of the harmony.

The motif-technique describes individual unfoldment, and the expression of this description is the melody.
So, the melody displays the very individual course of life, and when in the polyphony many melodies are brought to unfoldment simultaneously and mingle with each other, then it may occur that the listener identifies his personal course of life with the individual motif unfoldments because he finds his own inner potential of unfoldment described in them.

Then, in the process of listening to music, he treads individual, maybe universal or even cosmic ways of unfoldment which he might - without the stimulus from outside through the classical music - not so readily set foot on for fear of rousing suspicion, with himself or even with others, of being insane.

The conventional scientific system of philosophy keeps clear off and at the greatest posssible distance from any sort of unaccustomed speculation and consideration.
For on the flat level of verbal reasoning, inconclusive nonsense is easily identified.

Classical music completely ignores conclusiveness in terms of simple logic; it fully concentrates on the goal to be reached and behaves, if necessary, completely unconventional or irrational on the way.