The purely mu­si­cal com­pre­hen­sion of re­al­ity in­cludes: the outer hear­ing and the in­ner hear­ing which, in turn, in­cludes the (in­ner) per­cep­tion of the mu­si­cal pa­rame­ters sound, motif, se­quence, and har­mony.
With our in­ner hear­ing, we per­ceive these mu­si­cal pa­rame­ters in re­la­tion to the mu­si­cal sound-space, and in re­la­tion to the motif-space, the se­quence-space, and the har­mony-space, we per­ceive them with our in­tel­lect, our feel­ing and un­der­stand­ing.

The outer per­cep­tion con­cerns our per­cep­tion of sounds in the acous­tic space, i.e. the per­cep­tion of the mu­si­cal event that is brought to us lis­ten­ers from out­side.

The struc­tural com­pre­hen­sion of the mu­si­cal sound-space through our in­ner hear­ing is tied to the clar­ity of the rep­re­sen­ta­tion of the sound in our mind, and there­fore de­pends pri­mar­ily on the efficieny of our mind.
But also it de­pends on the sen­si­tiv­ity of per­cep­tion of our in­ner sense of hear­ing, on its alert­ness.

Struc­tur­ally com­pre­hend­ing the motif-space in mu­sic de­pends on an even more pre­cise func­tion­ing of the mind, be­cause the lat­ter de­ter­mines the pre­ci­sion of the tonal-struc­tural pic­ture which con­tains the motif images.

Fur­ther­more, com­pre­hend­ing the mu­si­cal motif-space de­pends on the cog­ni­tive ca­pa­bil­ity of our in­tel­lect, be­cause it is the in­tel­lect which, by vir­tue of our ana­lyz­ing un­der­stand­ing, detects the un­fold­ment of the mo­tifs in the motif-space and by vir­tue of our syn­the­siz­ing feel­ing, real­izes this un­fold­ment of mo­tifs to be a continu­ous melody a unity of the motif-de­vel­op­ment.

Struc­tur­ally com­pre­hend­ing the mu­si­cal melody-space is based on an even more pow­er­ful func­tion­ing of the mind; be­cause, in or­der to com­pre­hend the melody, the tonal struc­ture must be dis­played on the sur­face of our mind even more pre­cisely, and the tonal pa­rame­ters, in their re­la­tion to each other, must be per­ceived com­pletely so that we can com­pre­hend the dif­fer­ent, mani­fold de­vel­op­ments of the mo­tifs ho­lis­ti­cally as a unity and si­mul­ta­ne­ously as sepa­rate from each other.

Only the dif­fer­en­ti­ated and, at the same time, in­te­grated com­pre­hen­sion of the motif de­vel­op­ments through feel­ing and un­der­stand­ing al­lows to com­pre­hend the melody, which means: the mu­si­cal com­pre­hen­sion of the il­lus­tra­tion of an in­di­vid­ual course of life.

If, how­ever, we at­tempt to com­pre­hend sev­eral life-paths si­mul­ta­ne­ously, we have to do so from a higher level of knowl­edge; for not only must we see and ex­peri­ence one sin­gle, in­di­vid­ual course of de­vel­op­ment, but many courses si­mul­ta­ne­ously.
And the mys­teri­ous ap­peal of this stage of mu­si­cal know­ing lies not so much in purely outer ob­serv­ing or un­der­stand­ing the char­ac­ters in de­vel­op­ment and the li­ves based on them, but in per­son­ally ex­peri­enc­ing many dif­fer­ent roads of in­di­vid­ual hu­man per­fec­tion si­mul­ta­ne­ously.

In the mu­si­cal spaces of the se­quences we can make the ex­peri­ence of liv­ing very dif­fer­ent li­ves si­mul­ta­ne­ously and, thereat, per­son­ally walk­ing very dif­fer­ent life-paths si­mul­ta­ne­ously and in our ex­peri­ence we can move about, be­ing one and the same per­son, in very dif­fer­ent bod­ies and with very dif­fer­ent modes of be­hav­iour.

The world of the har­mony, how­ever, af­fords us the per­sonal ex­peri­ence of an in­fi­nite mul­ti­plic­ity of li­ves which are be­ing lived si­mul­ta­ne­ously, and which move be­fore our men­tal eye and within our feel­ing like shin­ing stars on free orbits.
And all these in­di­vid­ual stars are we our­selves; each sin­gle orbit is our own, very in­di­vid­ual life-path, and this ex­peri­ence, in this high­est stage of our mu­sic lis­ten­ing, of our mu­si­cal cog­ni­tion of truth, is our very per­sonal truth.