Mu­si­cal deduc­tion con­cerns set­ting our in­tel­lect into func­tion, which hap­pens in two ways:

through the outer mu­si­cal in­for­ma­tion in the cog­ni­tive field of the mu­si­cal sound-space;
via the outer per­cep­tion in the acous­tic space our in­tel­lect is stimu­lated to ana­lyze the sounds of the mu­si­cal work with a view to syn­the­sis.
This is the onset of our mu­si­cal way to knowl­edge; it starts with the ac­ti­va­tion of the forces of our un­der­stand­ing and ends in the ac­ti­va­tion of the forces of our feel­ing.

through the in­ner mu­si­cal in­for­ma­tion in the cog­ni­tive field of the self-aware­ness;
through the outer per­form­ance, and through the proc­ess of the re­fine­ment of per­cep­tion laid out in the mu­si­cal work, our in­tel­lect, through our un­der­stand­ing, in­creases its ana­lyz­ing func­tion and con­verts it, step by step, into a func­tion of syn­the­sis.

In this proc­ess, our forces of un­der­stand­ing are sys­tem-atically stimu­lated to refine them­selves, and fi­nally they reach the level of cog­ni­tion in terms of the feel­ing.
Here, the mu­sic lis­tener reaches the cli­max of his rela­tive mu­si­cal way to knowl­edge.

The cog­ni­tion of the mu­si­cal state­ment and the com­pre­hen­sion of the mu­si­cal truth in the motif-space is em­piri­cal only in that we per­ceive the sound-pat­tern, the outer layer of the motif in the mu­si­cal sound-space with our hear­ing.

The mu­si­cal motif it­self, and its quali­ties, we deduce only by means of our in­tel­lec­tual fac­ulty of logic, and the in­for­ma­tion re­quired to do so we draw from the struc­tural change of the tone pat­tern.
And our in­tel­lect hands over the in­sight ob­tained in that man­ner to our self-aware­ness as its own, care­fully re­flected knowl­edge.

To cog­nize the mu­si­cal se­quences, how­ever, the ca­pac­ity of our in­tel­lec­tual power, its in­teg­rity must be in­creased sub­stan­tially; and in or­der to com­pre­hend the har­mony, our in­tel­lec­tual ca­pa­bili­ties must reach their high­est peak.

When we dis­cover the har­mony, a phase tran­si­tion takes place in the proc­ess of our mu­si­cal gain­ing knowl­edge, in that our self-aware­ness be­comes ca­pa­ble of iden­tifying it­self on the level of the har­mony with the mu­si­cal state­ment in its to­tal­ity.

Hence, the lis­tener be­comes a crea­tive mu­sic lis­tener, and the mu­sic con­sumer po­ten­tially turns into a mu­sic crea­tor or into a per­fect per­for­mer.
For wher­ever a se­quence does not un­fold all natu­rally in lively di­ver­sity from the har­mony be­cause the mu­si­cian in­ter­preter has not real­ized this level of knowl­edge within him­self the crea­tive mu­sic lis­tener stimu­lates this lively un­fold­ment within him­self and per­forms it on the level of his own men­tal space of ex­peri­ence in­de­pend­ent of the qual­ity of the per­form­ance re­sound­ing out­wards in the acous­tic space.

And even if the outer per­for­mer makes the great­est blun­ders even if he glo­ri­fies the pe­ri­odi­cal “in­stru­ment-spe­cific” vi­bra­tions and thereby de­picts ex­clu­sively na­ture un­enli­vened then from his own crea­tive, cog­ni­tive po­ten­tial, the crea­tive mu­sic lis­tener enli­vens within him­self this in­ani­mate mu­sic by means of the com­po­si­tional logic, and re­stores it again to a liv­ing mu­si­cal reve­la­tion un­der his own, in­ner, per­fect laws of har­mony: and he hears the origi­nal, pure form of the mu­si­cal work which is maybe be­ing disfigured in the con­cert hall out­side at the same time.