So the true study of mu­sic is based on the gen­eral study of mu­si­cal crea­tiv­ity, on the gen­eral study of in­ner, hu­man mu­si­cal un­fold­ment, on the sys­tem­atic study of the in­di­vid­ual crea­tive per­son­al­ity.

Only on that basis it makes sense to con­sider an outer pres­en­ta­tion of that which is cre­ated within by the in­tel­lect and heard with the in­ner ear.

Mu­si­cal edu­ca­tion thus pre­sents it­self as a sys­tem­atic, well-di­rected train­ing pro­gram for an in­ner-hu­man cul­ti­va­tion of char­ac­ter.

This defi­ni­tion of the pur­pose of mu­sic guar­an­tees us the ap­proval of the great wise men of all high cul­tures; for they con­sid­ered this cen­tral task to be the prin­ci­pal field of mu­si­cal ac­tiv­ity.
Thus, mu­sic to­day regains its origi­nal paramount im­por­tance in de­ter­min­ing hu­man evo­lu­tion.

In prin­ci­ple, mu­sic knows two kinds of sys­tems of or­der which – each fur­ther sub­di­vided – are the two magic arms that pre­sent the mu­sic to the lis­tener.

These two great sys­tems of or­der may be con­sid­ered as the hori­zon­tal one – rec­og­niz­able from out­side and com­pre­hen­si­ble by the un­der­stand­ing – and the ver­ti­cal one – rec­og­niz­able from inside and com­pre­hen­si­ble by the feel­ing.

The lis­tener, in turn, re­ceives the mu­sic pre­sented to him with two arms: the quali­ties of his feel­ing and his un­der­stand­ing.

Both sys­tems to­gether form the two­fold hu­man path of un­der­stand­ing the one mu­si­cal struc­ture. En­dowed with feel­ing and un­der­stand­ing, man ex­tracts that dual knowl­edge from mu­sic and in­ter­prets it as the hori­zon­tal sys­tem of or­der – the one which he com­pre­hends with his un­der­stand­ing – and as the ver­ti­cal sys­tem of or­der – the one which he com­pre­hends with his feel­ing.
Due to the heterogeneity of these two meth­ods of know­ing, i.e. feel­ing and un­der­stand­ing, mu­sic is be­ing per­ceived in space and time within our con­scious­ness.

Now he real­izes that he him­self is the true es­sence of the com­po­si­tion, the ori­gin of the com­po­si­tion, the ori­gin of each sin­gle com­po­si­tion, the ori­gin of all com­po­si­tions to­gether, the ori­gin of all mu­sic, and the ori­gin of all that which mu­sic is, was, and ever will be.
Reach­ing this high mu­si­cal goal, re-emerg­ing from this mu­si­cal unity into a mani­fold world of mu­sic, and re-en­ter­ing again the un­bounded ori­gin of mu­sic is the su­preme mu­si­cal ex­peri­ence and the level proper for any genu­ine mu­si­cal ex­peri­ence.