While the self of the com­poser, through the in­tel­lect, fath­oms the sub­jec­tive sphere on the level of the mind, and per­ceives it as be­ing very alive, that very same self scans the sound on the level of the mind from out­side, through the sense of hear­ing as if with a meas­ur­ing in­stru­ment, and makes the com­poser the first lis­tener of his work.

Due to its na­ture the feel­ing as­pect of the in­tel­lect is as­so­ci­ated with more life than the un­der­stand­ing, and there­fore the lis­tener will al­ways ex­peri­ence the knowl­edge per­ceived on the level of his feel­ing as much more lively than the in­for­ma­tion brought in by his un­der­stand­ing.

By vir­tue of this two­fold-struc­tured sys­tem, based on the feel­ing and the un­der­stand­ing, for gath­er­ing mu­si­cal in­for­ma­tion through the in­tel­lect, the lis­tener re­gards the lively in­ner as­pect of the men­tal mu­si­cal sound-space, which he pre­domi­nantly per­ceives by his feel­ing, as sub­jec­tive. And in con­trast, he re­gards the less lively, outer as­pect of the men­tal mu­si­cal sound-space, which he per­ceives rather by his un­der­stand­ing, as life­less, or as ob­jec­tive.

Nev­er­the­less, the con­scious self of an alert lis­tener will be aware at all times that na­ture, as mu­sic de­scribes it, is al­ways lively and sub­jec­tive, never dead or, in the sci­en­tific ma­te­ri­alis­tic sense, ob­jec­tive.

The re­al­is­tic, ho­lis­tic de­scrip­tion of the liv­ing re­al­ity through the “spo­ken word” of mu­sic is ex­tremely pro­found and sys­tem­atic – even by to­day’s sci­en­tific stan­dards. This fact, amongst oth­ers, ac­counts for the per­sua­sive power of clas­si­cal mu­sic.

How­ever, life can­not be pres­sed into pat­terns of ra­tional num­bers. Cor­re­spond­ingly, the ir­ra­tional ele­ment pre­domi­nates in clas­si­cal mu­sic and the dif­fer­ent mu­si­cal pa­rame­ters in­ter­act in ra­tios of ir­ra­tional num­bers, and it is this con­trolled in­cal­cu­la­bil­ity from which the great ap­peal of mu­sic, that re­al­is­tic lively lan­guage, really arises.

As op­posed to the con­ven­tional, ra­tional, ma­te­ri­al­is­ti­cally-ori­ented natu­ral sci­ences, mu­sic de­scribes the re­al­ity of life in the fan­tas­tic di­men­sion of ir­ra­tional val­ues. Al­though the edu­cated mu­si­cian may com­pre­hend the real world ho­lis­ti­cally and in­tui­tively, he can only de­scribe it cor­rectly with ir­ra­tional val­ues, if he wants to ex­press the re­al­ity of life sat­is­fac­to­rily.