For the great com­pos­ers of all times it was com­pletely natu­ral to con­trol and rule the in­ner world of their think­ing, and this sov­er­eignty was pre­ceded by an in­ten­sive study of their in­ner forces. This study was based on the es­tab­lish­ment of a sys­tem for their con­trol and was sys­tem­ati­cally de­vel­oped and re­fined, which in turn re­sulted in a re­fine­ment of the mu­si­cal art.

From the high de­gree of per­ceiv­able or­der and the con­ti­nu­ity of this com­po­si­tional de­sign we have good rea­son to­day to con­clude that the great mu­si­cal art­ists must have been crea­tive from a pow­er­ful wak­ing state of con­scious­ness – a world of lively fan­tasy, gov­erned by the self. This is the rea­son why the great mu­si­cal poets are so very much alive in the mem­ory of the peo­ple.

Thus, the in­ner proc­ess of the ar­ticu­la­tion of speech proves to be the proc­ess of ar­ticu­la­tion of our mind, the proc­ess of ar­ticu­la­tion of our think­ing, the mecha­nism for the crea­tion of our thoughts. And to rule this proc­ess of ar­ticu­la­tion means: to rule the proc­ess by which one gen­er­ates a thought, sus­tains it, changes it, and al­lows it to fade again.

This sov­er­eignty over his in­ner or­gan of speech is es­sen­tial for the mu­si­cian’s ar­tis­tic achieve­ment – for if he does not mas­ter the mecha­nism of his mu­si­cal imagi­na­tion how then is he going to mas­ter mu­sic? What does he intend to com­mu­ni­cate to his neighbour? And on what basis?

Be­fore the mu­si­cian forms a sound with the help of an in­stru­ment he must first ar­ticu­late it men­tally, think it con­sciously, then hear it con­sciously, and he must con­sciously feel the mani­fold ef­fect on him­self of the sound he is think­ing. Only then is he able to assess the ef­fect of this sound on his neighbour.

If the proc­ess of mak­ing mu­sic does not take place in this com­pletely con­scious man­ner, the mu­si­cian does not know at all what he is do­ing. And this type of mu­si­cian is re­jected by all great mu­si­cal crea­tors.