The feel­ing takes ad­van­tage of these posi­tive con­sid­era­tions of the un­der­stand­ing and fur­ther drags the un­der­stand­ing along with it into the world of per­fect mu­si­cal unity – the world of the har­mony.
And in this moment some­thing strange hap­pens: com­pletely un­ex­pect­edly, the un­der­stand­ing is sud­denly permeated by a nour­ish­ing flood of pure alert­ness, and be­fore its cog­ni­zant eyes the se­quences, the mo­tifs, and even the stars of the tones come closer and closer and fi­nally slip into it, so that it can no longer dis­tin­guish whether they move with­out or within it.

And here its eyes of cog­ni­tion shine. And the un­der­stand­ing tells the feel­ing of its joyful ex­peri­ences of di­ver­sity, and our feel­ing speaks of its own joyful ex­peri­ences of unity.

In this mutual ex­change of ex­peri­ences our un­der­stand­ing and our feel­ing to­gether embody the prin­ci­ples of the har­mony: while our un­der­stand­ing now ex­peri­ences the di­ver­sity of all mu­sic, our feel­ing com­pre­hends the unity of this ab­so­lu­te mu­si­cal world.

Feel­ing and un­der­stand­ing are held to­gether in a per­fectly har­mo­ni­ous man­ner by the cos­mic wind of the ab­so­lu­te tone-sub­stance; it unifies and per­me­ates them both, and stimu­lates them to sway in the cos­mic dance of the per­fect mu­si­cal ex­peri­ence.
Such is the na­ture of mu­si­cal dis­cus­sion.