With his un­der­stand­ing, the lis­tener cog­nizes the “hori­zon­tal” com­po­si­tional sys­tems of or­der; with his feel­ing he grasps the “ver­ti­cal” mu­si­cal re­la­tions of power.
There­fore, the quali­ties of feel­ing and un­der­stand­ing are ef­fec­tive on all lev­els of mu­sic: in the world of the sound-space, in the world of the motif, in the world of the se­quence, and in the world of the har­mony.

When these two fun­da­men­tal quali­ties of the in­tel­lect – feel­ing and un­der­stand­ing – are real­ized by the mu­si­cian as ef­fi­cient and mighty for­ma­tive forces in mu­sic, they fi­nally appear be­fore him in their per­fec­tion on the level of har­mony.

The mu­si­cal sound-space, the world of the in­ner mu­si­cal imagi­na­tion, is equally enli­vened by the feel­ing and by the un­der­stand­ing; and the art of the mu­si­cian lies par­ticu­larly in radiating this enliv­en­ment, this lively mul­ti­plic­ity, even into the physi­cal-acous­tic space and to enli­ven it so that the lis­tener com­pre­hends life it­self as his own three­fold food of knowl­edge: