It is easy to imag­ine that, by ap­ply­ing a spe­cial tech­nol­ogy for the sys­tem­atic in­ner and outer re­fine­ment of the proc­ess of ar­ticu­la­tion, and thereby for the true for­ma­tion of speech, such a highly de­vel­oped abil­ity of lin­guis­tic ex­pres­sion will be cul­ti­vated in the near fu­ture and on a broad basis that speech will have an ef­fect as pro­found as only mu­sic has to­day, and will appear to man as pure mu­sic.

For this, speech must be con­ceived and mas­tered on the level of the unity of mean­ing and form. Then, speech and mu­sic would be uni­fied through this in­ner re­ali­za­tion, and this would be the heyday of the mu­si­cal art­ists.

The mi­cro­cosm of speech, as well as of mu­sic, would be gen­er­ally rec­og­nized as unity, and the mac­ro­cosm of speech and mu­sic would natu­rally re­flect this unity in the world of sing­ing and in­stru­men­tal per­form­ance.

Here, an in­ves­ti­ga­tion into the heri­tage of our speech is worth­while.
Let us there­fore delve into our an­ces­tor’s knowl­edge of speech.