Analogously, both non-liv­ing and liv­ing truths of mani­fold de­grees of or­der are caught in the flow­ing wa­ters of cog­ni­tion of mu­sic, and the nets that are used dif­fer from each other.

There are en­tire categories of mu­si­cal nets of knowl­edge; the in­ner sound-tech­nique, for ex­ample, uses a net to catch the un­enli­vened as­pects of mu­sic.

The motif-tech­nique, how­ever, catches the in­di­vid­ual forces in mu­sic with its nets, while the se­quence-tech­nique catches the so­cial forces, and the har­mony-tech­nique catches the sum to­tal of all forces.

On the one hand, the com­poser cre­ates the uni­verse of mu­sic in all its mul­ti­plic­ity – as if he pro­duced the whole of na­ture at a stroke; but on the other hand, at the same time he goes through his re­sound­ing crea­tion like a guide, equip­ped with dif­fer­ent nets of knowl­edge.

Lov­ingly he takes his at­ten­tive lis­tener by the hand and shows him how to get hold of the re­spec­tive forces of knowl­edge from the floods of gain­ing knowl­edge in mu­sic.

Sys­tem­ati­cally, yet very play­fully, the keen mu­sic lover learns to catch mu­si­cal truth with these nets of knowl­edge, and from the mu­sic poet he even learns to change the mesh of the nets while catch­ing.

Now he needs only one net any­more, and still has all the ad­van­tages of the oth­ers.
And with this sin­gle net of knowl­edge he then gathers all the truths em­bed­ded in mu­sic.

Prac­tis­ing in this man­ner, the mu­sic lis­tener quickly dis­cov­ers that with a tighter net he is able to catch more com­pre­hen­sive truths, and that with a net more loose he can only grasp de­tail truths.
Both are nec­es­sary, for by know­ing the de­tail truths he comes to know more dis­tinctly the mani­fold struc­ture of the com­pre­hen­sive truths – be­cause par­tial truths derive from the more com­pre­hen­sive truths like chil­dren from their par­ents.