The har­mony is the ulti­mate goal of gain­ing knowl­edge in mu­sic, the ulti­mate cog­ni­tion of mu­sic.
The har­mony is able to edu­cate man in truth and to re­veal to him that mu­sic in its pu­rity is noth­ing else than life it­self, as it is natu­rally lived on the level of pure self-aware­ness.

Only the har­mony dis­closes to the lis­tener striv­ing for mu­si­cal knowl­edge the true re­la­tion­ship be­tween the ab­so­lu­te mu­sic and its lim­ited ex­pres­sion, the rela­tive mu­si­cal force-fields.

Know­ing the har­mony is based on the per­cep­tion of the per­fect fun­da­men­tal vi­bra­tion of the ab­so­lu­te tone-sub­stance, that cos­mic vi­bra­tion which, on the one hand, com­bines the ab­so­lu­te mu­si­cal world of the har­mony with the rela­tive mu­si­cal worlds of the se­quences, the mo­tifs, and the mu­si­cal sound-space, and keeps them to­gether, and which on the other hand, from the in­fi­nite full­ness of the har­mony be­yond space and time, pro­duces the full­ness of the rela­tive mu­si­cal hap­pen­ing within space and time and trans­forms it into the gar­ment of the vari­ous mu­si­cal fields of cog­ni­tion.

In the state of pure self-aware­ness, look­ing out of the ab­so­lu­te mu­si­cal field of the har­mony into the rela­tive mu­si­cal proc­ess, the crea­tive lis­tener real­izes that all of this lim­ited mu­si­cal hap­pen­ing, those mu­si­cal worlds of the se­quences, the mo­tifs, and the mu­si­cal tone-space, do not exist so real as the ab­so­lu­te mu­sic in the in­fi­nite force-field of the har­mony.

Look­ing out from the world of the har­mony into the mu­si­cal force-fields of the se­quences, the mo­tifs, and the tones, the lis­tener is re­minded of the ex­peri­ences on his past rela­tive path of knowl­edge.

The motif world, which gov­erns the mo­tifs from within, had not really been within his reach.
The world of the se­quences, which forms the basis of the mo­tifs and which gov­erns them from within, was not within his reach, ei­ther.

But still, he de­duced their ex­is­tence from the ef­fects which the mo­tifs and the se­quences had pro­duced in the mu­si­cal sound-space.