As the mu­sic turns our at­ten­tion to­wards fields of more and more subtle or­der of the mu­si­cal rep­re­sen­ta­tion of truth, and pre­sents the sub­tler pic­tures of truth more and more clearly to us in the course of the mu­sic, we tran­scend with our en­tire ex­peri­enc­ing, feel­ing and un­der­stand­ing the phe­no­mena of na­ture that are dis­played struc­tur­ally in the mu­si­cal work, and we fi­nally reach the place from where the na­ture of our think­ing, of our feel­ing, and of our evo­lu­tion origi­nates.

This is the very place where mu­sic origi­nates, too.

Once we have ar­rived there, we have reached the natu­ral stand­point of a crea­tor of mu­sic.
Our think­ing has adopted the struc­ture of the ab­so­lu­te sound-sub­stance, and our mind sways with the per­fect, ab­so­lu­te, fun­da­men­tal vi­bra­tion of na­ture, of its own in­ner na­ture, and of all outer na­ture.

We bring about the full enliv­en­ment of our feel­ing and un­der­stand­ing, and their co­or­di­na­tion, through our per­cep­tion of the per­fect fun­da­men­tal vi­bra­tion of the ab­so­lu­te sound-sub­stance, that cos­mic force from which ob­vi­ously eve­ry great mu­si­cal crea­tor cre­ates.

As we cog­nized laws of in­creas­ingly higher or­der, in­creas­ingly more com­pre­hen­sive truths, and in­creas­ingly more pow­er­ful mu­si­cal for­ma­tive forces, we rushed through stages of more and more com­pre­hen­sive gen­eralization in our rela­tive proc­ess of gain­ing knowl­edge in mu­sic.

We ori­ented our­selves pre­domi­nantly by the form, and searched from there for an al­leged mean­ing.

Within the struc­ture of the mu­si­cal sound-space as the form, we even­tu­ally per­ceived the motif worlds as its con­tent.
Later, within the mu­si­cal form of the motif worlds, we dis­cov­ered the even more subtle mu­si­cal force-fields of the se­quences as the mu­si­cal con­tent.
And fi­nally, within the se­quence struc­tures as the form, we dis­cov­ered the har­mony as its con­tent.

Even­tu­ally, this tech­nique of sys­tem­atic gen­eralization in our mu­si­cal proc­ess of gain­ing knowl­edge brought us safely into the unlim­ited mu­si­cal world of the har­mony.

In the mu­si­cal work, this tech­nique of gen­eralization had been marked out by the com­poser in a very dis­creet man­ner for us lis­ten­ers, and it made up the ac­tual charm of his mu­sic – with­out our­selves be­ing aware of it origi­nally.

So, dur­ing the proc­ess of our gain­ing knowl­edge in mu­sic, the tech­nique of gen­eralization turned out to be the sure path to­wards mu­si­cal truth.
For the proc­ess of cog­ni­tion was based on a sepa­ra­tion of con­tent and form.

Form and con­tent al­ways re­vealed them­selves one af­ter the other – sepa­rate from each other in space and time.
Thus we per­ceived the rela­tive mu­si­cal force-fields as the form of mu­sic, and the field of the har­mony as its con­tent.
For us cog­nizers of mu­sic this re­sults in a two­fold in­ter­pre­ta­tion of mu­sic.