When the three sphe­res of or­gani­za­tion – the motif-tech­nique, the se­quence-tech­nique, and the har­mony-tech­nique – exe­cute their full in­di­vid­ual sov­er­eignty over their re­spec­tive worlds, the fas­ci­na­tion of the outer lively fig­ures of mo­tifs and se­quences arises.

If, how­ever, the three cus­to­di­ans of law, the motif tech­nique, the se­quence tech­nique, and the har­mony tech­nique, gov­ern the mu­si­cal events in com­plete un­ion from the level of har­mony, the very image of beauty in mu­sic arises within the lis­tener.

The prin­ci­ples of per­fect beauty in mu­sic de­velop only from the com­plete un­ion of the ruling forces in mu­sic; thus, beauty re­veals it­self as the ex­pres­sion of in­te­gra­tion it­self – as the stan­dard of per­fect co­or­di­na­tion, and the field of mu­sic aes­thetics, we find, is the sci­ence of the laws of co­or­di­na­tion.

The stronger the unity of the ruling mu­si­cal pa­rame­ters is real­ized and the higher the in­te­gra­tion of the pa­rame­ter lev­els con­trolled, the clearer the in­fi­nite beauty of mu­sic re­veals it­self.

The har­mony-tech­nique is the world of the in­ner­most and most com­pre­hen­sive laws of the mu­si­cal event. The se­quence ap­plies these laws in the so­cial or­ders of mu­sic. It in­spires and guides the in­di­vid­ual mo­tifs ac­cord­ing to these laws.

Within the har­mony all laws are united: the com­pre­hen­sive laws of the har­mony-tech­nique, as well as the less com­pre­hen­sive laws of the se­quence-tech­nique, and the even less com­pre­hen­sive laws of the melody-tech­nique and of the motif-tech­nique.