Con­ven­tional mu­si­cal edu­ca­tion so far con­fined it­self to teach the su­per­fi­cial tone pat­terns of mu­sic.
Hence, it was barred from fur­ther fathoming the mu­si­cal mean­ing which dis­closes it­self only deep within the con­scious­ness of the mu­sic lover – the budding mu­si­cian.

This lack of in­ner-hu­man dy­namics re­sults in the lim­ited value of con­ven­tional mu­sic-edu­ca­tion: its in­abil­ity to bring about the natu­ral and per­fect proc­ess of cre­at­ing mu­sic within each mu­sic stu­dent.

By its very es­sence, how­ever, clas­si­cal mu­sic rep­re­sents the cen­tral core of mu­si­cal crea­tiv­ity: by means of the mu­si­cal proc­ess of gain­ing knowl­edge, the mu­si­cal logic takes the stu­dent sys­tem­ati­cally to the ori­gin of the in­ner-hu­man crea­tive proc­ess and pur­posely stimu­lates the crea­tive hu­man forces within con­scious­ness to vibrate.

The proc­ess of gain­ing knowl­edge in mu­sic is of three­fold bene­fit: firstly, it is the de­vel­op­ment of gen­eral cog­ni­tion of truth; sec­ondly, an edu­ca­tional sys­tem to sys­tem­ati­cally refine our means of gain­ing knowl­edge; and thirdly, a prac­ti­cal ex­er­cise to han­dle them skil­fully.