The ori­gin of mu­sic is at the ori­gin of our hu­man think­ing, where our feel­ing and our un­der­stand­ing be­gin. It is also where our hear­ing be­gins, for the in­ner hear­ing origi­nates where the world of our think­ing be­gins.

Ac­cord­ingly, the ori­gin of mu­sic is not at all of his­toric na­ture, but it is per­ma­nent, ever-pre­sent; it is the “Now,” em­brac­ing past and fu­ture.

Mu­sic arises in man from the level of the com­mon ori­gin of feel­ing, un­der­stand­ing, and hear­ing. With his sense of hear­ing, his in­ner ear, the mu­si­cal crea­tor pur­sues the thought that is ris­ing from the si­lence of his heart, and by sur­vey­ing it with the help of his sense of hear­ing, he com­pre­hends its mu­si­cal struc­ture.

Dur­ing this proc­ess of sur­vey­ing, his in­tel­lect, on the level of his in­ner feel­ing and on the level of his un­der­stand­ing, reg­is­ters the ex­peri­ence of his sense of hear­ing, evalu­ates it and takes cor­rective de­ci­sions for the course of the mu­si­cal event:
This, really, is the field of prac­ti­cal com­pos­ing.

Ini­tially, the com­poser does not hear a fin­ished thought – i.e. with his sense of hear­ing he does not sur­vey a thought that is al­ready pro­duced. From the very be­gin­ning al­ready, at the ori­gin of a thought, he de­cides deep within him­self, what and how he will think.

Ac­cord­ingly, for the mu­si­cal crea­tor, the in­ner tone or sound, per­ceived with his sense of hear­ing, al­ready is the end of his com­pos­ing, not its be­gin­ning.

Sur­vey­ing the men­tal mu­si­cal event with his in­ner sense of hear­ing not only serves the mu­si­cal crea­tor to per­son­ally verify, but also to enjoy his in­ner con­cert.