No copy can be made with­out an origi­nal; and like­wise, in the field of mu­sic the lis­tener, too, will not be able to walk the path of knowl­edge if the com­poser has not walked it in ad­vance him­self.

It may cer­tainly appear to the in­ter­preter that he merely de­scribes some kind of way to the lis­tener; for the true mu­sic lis­tener, how­ever, the com­poser him­self treads this path in the course of the mu­si­cal act and thus ac­com­pa­nies his lis­tener per­son­ally to the heights of mu­si­cal knowl­edge.

From this it is plau­si­ble that, while he cre­ates it, the com­poser walks off that path of cog­ni­tion, which he de­scribes in the mu­si­cal work.
This again re­quires natu­rally that the com­poser walks this path with all of his be­ing, from the depth of his heart and with a clear mind, and that he com­mits all of his feel­ing and un­der­stand­ing: to pave the way of mu­si­cal gain­ing knowl­edge in all its as­pects for his lis­tener.

Un­der­standa­bly, hav­ing been paved in that man­ner, such a path of cog­ni­tion rules out the con­cept of an outer act of com­pos­ing from the very root, and de­mands from the com­poser clairvoyant abili­ties; for right from the onset of his mu­si­cal ac­tiv­ity the com­poser must allow the great, sun-like radi­ant goal of self-knowl­edge to shine from his men­tal eye so that his lis­tener may rush un­per­turbedly through the great worlds of the mu­si­cal force-fields.

As men­tioned ear­lier, the com­poser has a two­fold task here, and si­mul­ta­ne­ously he sets the mu­sic lis­tener a two­fold ex­ample:

on the one hand, dur­ing the en­tire proc­ess of cre­at­ing mu­sic the com­poser him­self re­mains in the state of pure self-aware­ness and does, in this re­spect, not in the least enter the field of sound­ing mu­sic – he re­mains in the per­fect mu­si­cal world of the har­mony;

on the other hand, the com­poser si­mul­ta­ne­ously leaves this unlim­ited world and en­ters the lim­ited world of the se­quences, the mo­tifs, and even the out­er­most field of the mu­si­cal sound-space – the ma­te­rial sphere of mu­sic.

So, he en­ters the world where his lis­tener pa­tiently waits, he takes him by the hand and guides him on joyful ways through the motif-spaces and se­quence-spaces into the in­fi­nite do­main of the har­mony, to­wards him­self.
In that man­ner, the mu­si­cal crea­tor guides his lis­tener into that world where the lis­tener cog­nizes him­self – where cre­at­ing and lis­ten­ing to mu­sic are one: where all things are one.

While on the one hand, in the ab­so­lu­te force-fields of the har­mony, the com­poser sets the mu­sic lis­tener the ex­ample of some­one liv­ing in the light of truth, cog­niz­ing uncloudedly, immovable on the out­side, sway­ing in his own hap­pi­ness – in­deed the pic­ture of a true mu­si­cal crea­tor – on the other hand, si­mul­ta­ne­ously he is the per­sonal ex­ample of a suc­cess­ful mu­sic lis­tener, in that he walks con­fi­dently ahead of the lis­tener from the lim­ited world of the mu­si­cal sound-space to the unlim­ited sphe­res of the har­mony.

Walk­ing the path of mu­si­cal knowl­edge for him­self gives the lis­tener the ex­peri­ence of right ac­tion.
For when he reaches the heights of mu­si­cal truth while com­ing from the mu­si­cal sound-space, and ar­rives at the ab­so­lu­te mu­si­cal fields of the har­mony, he makes the per­sonal ex­peri­ence of non-ac­tion; be­cause, in the field of the har­mony, the lis­tener sud­denly real­izes that mu­sic is self-crea­tive – flow­ing within it­self, act­ing within it­self.

And when even­tu­ally the lis­tener him­self, from his state of self-aware­ness, be­comes crea­tive very natu­rally and com­pletely ef­fort­lessly, he ex­peri­ences the unity of non-ac­tion and ac­tion – by re­main­ing, on the one hand, in the field of the har­mony, i.e. rest­ing in the state of pure self-knowl­edge, and by crea­tively tread­ing the path, on the other hand, in his self-cre­ated mu­si­cal world, and to act re­ju­ve­nat­ingly in it.