This level of knowl­edge char­ac­ter­izes our mu­si­cal in­sight into the worlds of the se­quence.
Be­cause now we real­ize that, as if by a se­cret spell, the mu­si­cal forces of the in­di­vid­ual un­fold­ment – the mo­tifs – are held to­gether from within by other forces of a higher or­der – by forces more pow­er­ful than even the mo­tifs them­selves.

And by iden­tifying step by step with these new, higher forces, we gradu­ally ex­peri­ence the source of power of those se­quence-forces; we ex­peri­ence the al­mighty crea­tive power of the har­mony.

We cog­nize how that in­fi­nite stream of en­ergy of the har­mony per­me­ates the se­quences with life and thereat, crea­tively ex­pands to­wards the mo­tifs.
And as we di­rect our at­ten­tion natu­rally to­wards the source of that stream, we per­ceive the har­mony it­self.
In the har­mony we then dis­cover the seed image of the en­tire outer mu­sic; and we no­tice that the outer mu­sic in the se­quence-spaces, in the motif-spaces, and in the mu­si­cal sound-space are but a re­flec­tion of the dy­namic mu­si­cal move­ment within the realm of the har­mony.

And in that moment – with­out really think­ing about it – we have reached the field of pure self-knowl­edge.

Step by step, the sys­tem­atic se­quence of our natu­ral, mu­si­cal con­clu­sions has brought us, the cog­ni­zant mu­sic lis­ten­ers, into the sphere of cre­at­ing mu­sic from where, as we now wit­ness, all mu­sic flows forth like from an in­ex­hausti­ble spring.

In mu­sic, there­fore, the art of draw­ing con­clu­sions is the pre­req­ui­site for any gain­ing knowl­edge.
This ap­plies to the crea­tor of mu­sic, as well as to the mu­sic lis­tener.

And as it turns out, this art of mu­si­cal deduc­tion is also the pre­req­ui­site to gain uni­ver­sally hu­man knowl­edge in mu­sic.

The art of deduc­tion brings the mu­sic lis­tener quite natu­rally into the realms of in­creas­ingly higher mu­si­cal or­ders and thus sys­tem­ati­cally into the fields of in­creas­ingly higher mu­si­cal knowl­edge.

Here, the skill of the mu­si­cal crea­tor lies in train­ing his lis­tener in the art of mu­si­cal deduc­tion – to show him the ver­ti­cal path into the depth of genu­ine mu­si­cal knowl­edge, and so to set an ex­ample for the mu­sic lis­tener by walk­ing this path of knowl­edge him­self.

Any hori­zon­tal kind of mu­si­cal pseudo-con­clu­sion, as prac­tised to­day in the con­ven­tional sys­tem of mu­si­cal analy­sis, can only lead to pseudo-knowl­edge.
This arises from false deduc­tion – and also from com­pletely unprac­ti­cal deduc­tion.

These il­lu­sory con­clu­sions do not at all lead the lis­tener into fields of higher mu­si­cal knowl­edge; they keep him in the field of the mu­si­cal sound-space, that space where the proc­ess of the mu­si­cal gain­ing knowl­edge ac­tu­ally ends.

This cor­re­sponds to some­one counting the grain in­stead of put­ting it into the soil and allowing it to grow.

The proc­ess of draw­ing con­clu­sions in mu­sic is al­ways di­rected to­wards know­ing a higher mu­si­cal mean­ing; it leads into the depth of mu­sic – to­wards the natu­ral source of mu­sic – and sys­tem­ati­cally raises the mu­sic lis­tener to the status of a mu­sic crea­tor.