More­over, the per­cep­tion of the ab­so­lu­te sound-sub­stance stimu­lates our in­tel­lect, as well as our sense of hear­ing, to swing in this per­fect ba­sic vi­bra­tion of the har­mony, and it thus cre­ates a state of rest­ful alert­ness in these tools of our cog­ni­tion.

This rest­ful alert­ness, in turn, en­ables our two­fold cog­niz­ing in­tel­lect, our feel­ing and un­der­stand­ing in­tel­lect, as well as our sense of hear­ing to di­rectly com­pre­hend and ex­peri­ence the mu­si­cal mean­ing.
It en­ables our tools of cog­ni­tion to ex­peri­ence the mu­si­cal proc­ess of de­vel­op­ment as a mani­fold unity on the level of the ab­so­lu­te Now i.e. with­out space and time and just as well within space and time i.e. in the rela­tive yes­ter­day, to­day, and to­mor­row.

But also the rest­ful alert­ness en­ables our tools of cog­ni­tion to view the mu­si­cal un­fold­ment of truth from a dis­tance, in that both our in­tel­lect and our sense of hear­ing per­ceive the rela­tive proc­ess of mu­si­cal un­fold­ment from their own, ele­vated fields of cog­ni­tion of the ab­so­lu­te Now, just as a diver watches the waves at the sur­face from the bot­tom of the ocean from the si­lence with­out be­ing af­fected by their roll and tumble.

Per­ceiv­ing the ba­sic vi­bra­tion of the ab­so­lu­te tone-sub­stance en­ables the mu­si­cal tools of cog­ni­tion to in­te­grate the deep si­lence and the to­tal enliv­en­ment, and only this in­te­gra­tion al­lows us lis­ten­ers to com­pre­hend the in­ner force-fields of mu­sic which do vibrate but which do not sound on a higher level of cog­ni­tion than that of the tone.

From our dis­cus­sion fol­lows how fun­da­men­tally im­por­tant it is that the ab­so­lu­te sound-sub­stance is enli­vened in the mu­si­cian and in the lis­tener on the level of their mu­si­cal tools of cog­ni­tion, if the one intends to ex­press truth in mu­sic and if the other intends to com­pre­hend it.

If this con­di­tion of such per­sonal per­cep­tion of the per­fect ba­sic vi­bra­tion of the ab­so­lu­te tone-sub­stance is not given then, natu­rally, the true in­sight into the mu­si­cal fields of knowl­edge re­mains ob­structed; for the mu­si­cian or the lis­tener draws from the mu­si­cal work only the as­pect of outer con­sump­tion of sounds or of physi­cal-emo­tional kinetother­apy but never the value of true mu­si­cal in­sight as is de­sired and ex­pected by the great clas­si­cal com­pos­ers.

But even if the in­ter­preter is not aware of the phe­nome­non of the ab­so­lu­te tone-sub­stance, the lis­tener can by him­self derive the struc­ture of the ab­so­lu­te sound-sub­stance from the struc­ture of the in­ner logic of the mu­si­cal work.
And thus, he has it at his dis­posal as a gen­eral basis for his per­sonal mu­si­cal knowl­edge.