Ac­quir­ing the craft of com­po­si­tion means, first of all, en­hanc­ing the ca­pac­ity of in­ner-hu­man con­cen­tra­tion which re­sults in a clearer knowl­edge of the in­ner re­al­ity of mu­sic – un­der the loving guid­ance of the great com­poser who, from the his­to­rian’s point of view, may have lived at a com­pletely dif­fer­ent time, but is per­fectly pre­sent for his stu­dent of pow­er­ful in­tui­tion.

The mu­sic stu­dent drew the in­ner strength he re­quired to ex­tri­cate the com­po­si­tion in its origi­nal per­fect struc­ture solely from his own love of mu­sic, his in­di­vid­ual love of life and from his per­sonal love of man­kind.

Once the mu­sic stu­dent knew how to free the in­ter­pre­ta­tion from its im­per­fec­tions, and once he com­pre­hended the es­sence of the mu­si­cal work in its pu­rity, he had reached the source from where mu­sic origi­nates. Here he real­ized that the great com­poser, who had be­stowed this mas­ter­piece on him, was his very per­sonal friend. And in that moment such a stu­dent en­ters a very in­ti­mate dia­logue with the crea­tive per­son­al­ity of the great com­poser of “the past.”

This is how the es­sen­tial les­sons in mu­sic were taught; this is how the se­cret sci­ence of com­pos­ing was passed on, which in the free­dom of its means kept mu­sic alive out­side the con­ven­tional mu­sic train­ing In­sti­tu­tions – as if for­eign to them – or in com­plete se­crecy within the “great” schools of mu­sic. And around this in­ner beacon light of mu­si­cal give and take of the origi­nal mu­si­cal of­fer­ing, the “smoke” of mu­si­cal bustle de­vel­oped – the mu­si­cal prac­tice of to­day.

Now we will have a closer look at this beacon light of mu­si­cal cog­ni­tion, and from its many facets we will sin­gle out those com­po­nents which are re­spon­si­ble for cre­at­ing mu­sic, and submit them to our con­scious aware­ness for a mu­si­cal-sci­en­tific in­ves­ti­ga­tion.