The natu­ral and well-de­signed ap­pli­ca­tion of quali­ties of the hu­man char­ac­ter in the gar­ment of mu­sic is called motif-tech­nique. Thereby, in­ner crea­tiv­ity is the prac­ti­cal mecha­nism through which the com­poser pro­jects his in­ner cog­ni­tion in the out­ward di­rec­tion and trans­forms it into the au­di­ble ex­peri­ence.

When the mu­si­cal crea­tor is aware of this proc­ess in de­tail, and when he real­izes the hu­man fac­ul­ties as the unity of his in­ner cog­ni­tion, his in­ner ex­peri­ence, and in­ner hear­ing, then this art is called “motif-tech­nique” in clas­si­cal com­po­si­tion.

The range of in­flu­ence of the motif-tech­nique is the battlefield of the in­ner-hu­man driv­ing forces: the quali­ties of the com­poser, the quali­ties of the lis­tener, and the quali­ties of man in gen­eral.

The deep in­flu­ence of clas­si­cal mu­sic is ex­plained by the mas­terful han­dling of that field of ex­peri­ence of our in­ner­most, in­di­vid­ual ex­is­tence which con­sti­tutes our true life and which re­veals it­self to the lis­tener in the com­po­si­tion.

Thus, the motif-tech­nique is the mean­ing­ful han­dling – ac­cord­ing to its own in­her­ent laws – of our in­ner­most im­pulses of life, of those ele­ments which are closer to life than the en­tire outer world of phe­no­mena.