The lis­tener’s di­rect in­sight into that ele­ment which pro­duces mu­sic is the true means for gain­ing valid mu­si­cal in­sight.

It is true that mu­sic is re­pro­duced out­side by in­stru­ments, but it is pro­duced much more origi­nally from within in the real, crea­tive proc­ess of mu­sic which springs from self-knowl­edge: from our di­rect in­sight into the ab­so­lu­te mu­si­cal force-field of the har­mony.

The outer per­form­ance of mu­sic links us to that tra­di­tion of mu­sic which we com­monly call our mu­sic his­tory.
Now, our in­ner­most mu­si­cal per­cep­tion on the ab­so­lu­te mu­sic-level of the har­mony links us with the unhis­tori­cal mu­si­cal tra­di­tion of cre­at­ing mu­sic, where we real­ize that we are cre­at­ing.

For a com­poser it is eas­ily pos­si­ble to cre­ate per­fect mu­sic with­out any outer mu­si­cal im­pres­sion from his di­rect in­sight into the per­fect force-field of the har­mony, and in com­mon, outer terms he may even be de­scribed as mu­si­cally com­pletely un­trained.
And still, his work if it has come into ex­is­tence on the basis of pure self-knowl­edge has lively grown from the ab­so­lu­te mu­si­cal force-field of the har­mony, and there­fore has the natu­ral meas­ure of per­fec­tion.

It may well happen that a mu­si­cal work, al­though hav­ing emerged in that man­ner from self-knowl­edge alone, re­mains strange in its outer mu­si­cal lan­guage to a lis­tener who li­ves in his lim­ited, his­tori­cal, earthly time, and there­fore does not reach him. It was cre­ated past the lis­tener of that pe­riod who is bound by the dialect of his time.

This is why the in­ner im­pres­sion of a tonal lan­guage rooted in tra­di­tion is a very im­por­tant fac­tor in the proc­ess of cre­at­ing mu­sic if the new crea­tion is to be within the reach of the lis­tener as a source for his ac­qui­si­tion of truth.

Up to now, con­ven­tional mu­si­cal les­sons are ex­clu­sively ori­ented to the out­er­most rep­re­sen­ta­tion of con­so­nants of the his­tori­cal mu­si­cal lan­guage.
With these hi­ero­glyphs one be­lieves one is able to teach mu­sic, but one has com­pletely lost sight of the pro­gres­sion of ac­tual, origi­nal emer­gence of mu­sic; only some­one who is, due to the for­tu­nate sup­port of na­ture, privi­leged by birth with the proc­ess of true crea­tion of mu­sic from pure self-con­scious­ness can act as a great man, and will at some point be ac­knowl­edged as such.

The in­te­gra­tion of outer and in­ner mu­si­cal knowl­edge guar­an­tees the mu­si­cal crea­tor suc­cess in his his­tori­cal time: among the lis­ten­ers of his era, and it will save him from mak­ing up to the lis­tener in flat mu­si­cal state­ments as we know them from en­ter­tain­ment mu­sic, in pop and beat mu­sic, as well as in large parts of folk mu­sic.

At his time, the au­then­tic mu­si­cal state­ment of an in­te­grated knower of mu­sic of a com­poser who is re­lated to the true mu­si­cal tra­di­tion will natu­rally be suc­cess­ful among the ma­jor­ity of the lis­ten­ers, he will sat­isfy the high­est de­mands for qual­ity, and he will outlive the times; for on the one hand, this di­rect mu­si­cal tes­ti­mony has evolved with ref­er­ence to the true tes­ti­mo­nies of the reve­la­tions of the ages but on the other hand, it has si­mul­ta­ne­ously emerged from the full­ness of origi­nal crea­tiv­ity be­yond time.