In the course of these ex­peri­ences – dur­ing our rela­tive mu­si­cal proc­ess of gain­ing knowl­edge, and dur­ing our free mu­si­cal proc­ess of crea­tion – each time a com­pletely dif­fer­ent mu­si­cal truth dis­closes to us.

If the ex­peri­ence of the ab­so­lu­te sound-sub­stance is lack­ing in our tools of cog­ni­tion, then we nec­es­sar­ily deduce only the ex­tremely lim­ited shadow images of the mu­si­cal re­al­ity and we even be­lieve that these shadow images are the whole mu­si­cal re­al­ity.

If, how­ever, we per­ceive the per­fect fun­da­men­tal vi­bra­tion of the ab­so­lu­te sound-sub­stance clearly in our tools of cog­ni­tion, then sud­denly, by vir­tue of this per­cep­tion, a com­pletely dif­fer­ent in­sight re­veals it­self.
As if with seven-league boots we now enter the ab­so­lu­te mu­si­cal force-field of the har­mony with­out any ob­sta­cles, and per­ceive there an in­fi­nite, unlim­ited flow of mu­sic be­yond space and time.

And we real­ize that this al­mighty force-field of the har­mony is the one and only eter­nal re­al­ity of the true mu­si­cal event in its su­preme per­fec­tion.
Then we must admit that, in com­pari­son, the outer rela­tive mu­si­cal event is but a mere shadow, a re­flec­tion hardly visi­ble.

This ambiguity of our cog­ni­tive valuation of mu­sic is there­fore based on a non-ex­peri­ence, or on an ex­peri­ence, of the per­fect fun­da­men­tal vi­bra­tion of the ab­so­lu­te sound-sub­stance in our tools of cog­ni­tion.
And whereas, in the proc­ess of mu­sic, we per­ceive only the form of the mu­sic as it were, we com­pre­hend on the ab­so­lu­te mu­si­cal level of the har­mony the con­tent of all mu­sic.

While the form of mu­sic de­vel­ops in space and time, its con­tent re­mains dy­namic and in an in­fi­nite flow of unlim­ited di­ver­sity within its origi­nal realm of the har­mony.