What our in­tel­lect origi­nally drew only from the mu­si­cal sound-space i.e. from the outer mu­si­cal pres­en­ta­tion it now per­ceives deep within, in our in­ner­most self: on the one hand, we hear the mu­si­cal work from out­side and glean the mu­si­cal mean­ing from it, and on the other hand, we si­mul­ta­ne­ously dis­cover the ex­is­tence of such a truth within our­selves.

We might say: we iden­tify our­selves with the mu­si­cal state­ment; for, as lis­ten­ers, we now iden­tify the outer re­sound­ing mu­si­cal work with our own, cor­re­spond­ing, in­ner mu­si­cal work which is un­fold­ing on the level of our self-aware­ness.

At this moment, when we lis­ten­ers per­form this iden­ti­fi­ca­tion of outer and in­ner mu­si­cal knowl­edge in the su­preme func­tion of our feel­ing and un­der­stand­ing in the field of our pure self-aware­ness then a dis­tinc­tion be­tween mu­sic-lis­ten­ing and mu­sic-cre­at­ing no longer exists for us.
In this man­ner we attain a uni­fied mu­si­cal mean­ing with a sin­gle one mu­si­cal form which clads the mean­ing into a gar­ment of tones.

This one to­tal mu­si­cal state­ment, which grew from the doubt­less­ness of what we heard within and with­out, is what we call the “au­then­tic mu­si­cal state­ment.”
In the deep­est sense of the word it is a lis­tener’s com­pounded tes­ti­mony of the mu­si­cal truth; for the lis­tener is now si­mul­ta­ne­ously a crea­tor of mu­sic.

Now the mu­si­cal state­ment cor­re­sponds to the origi­nal con­cept of the com­poser whose work con­tin­ues to re­sound in the con­cert hall.

This is the in­te­gra­tion be­tween the mu­sic lis­tener and the mu­sic crea­tor, be­tween the mu­sic stu­dent and the mu­sic teacher.