If our in­tel­lect wants to in­crease its per­form­ance, it must refine it­self struc­tur­ally.
For this, the co­or­di­na­tion of our feel­ing and un­der­stand­ing is of cru­cial im­por­tance; and this co­or­di­na­tion in turn is per­formed by our self-aware­ness.

Con­se­quently, our self-aware­ness is re­spon­si­ble for the proc­ess of condensation and thus, for the in­crease of per­form­ance of our in­tel­lect, and it pro­vides the nec­es­sary means.

As with our self-aware­ness, within our in­tel­lect, too, we find a dif­fer­ent struc­tural den­sity.

Where in our in­tel­lect the struc­tural den­sity is lower, we rec­og­nize our forces of un­der­stand­ing – the natu­ral fac­ulty of dis­crimi­na­tion of our in­tel­lect – in their func­tion most dis­tinctly; and this is also from where the re­freshing coolness streams into our mind and gives our think­ing the crys­tal-clear mu­si­cal form.

And where in our in­tel­lect the struc­tural den­sity is higher, we iden­tify our forces of feel­ing, our natu­ral fac­ulty of syn­the­sis, most clearly.
And this is also from where the enli­ven­ing warmth streams into our mind and gives our think­ing the crea­tive flow.

A bal­anced re­la­tion be­tween the cog­ni­tion of unity and of mul­ti­plic­ity in a mu­si­cal work – dur­ing the crea­tive proc­ess of mu­sic it­self, as well as dur­ing the mu­sic hear­ing – re­quires a bal­anced re­la­tion be­tween the feel­ing and the un­der­stand­ing of the com­poser dur­ing his crea­tive proc­ess: it is there­fore based on the in­te­gra­tion of his in­tel­lect.

If, for ex­ample, in the proc­ess of cre­at­ing mu­sic his feel­ing pre­domi­nates in the com­poser, the den­sity of in­for­ma­tion is higher, and the risk arises that, due to the den­sity be­ing too high, the di­ver­sity in­her­ent in the com­po­si­tion is not per­ceived by his lis­tener.

If, how­ever, his un­der­stand­ing pre­domi­nates in the com­poser dur­ing his crea­tive proc­ess, then the mu­si­cal den­sity of the work is lower and the as­pect of di­ver­sity domi­nates over unity.
Thus, there is dan­ger that the unity of the com­po­si­tion is not per­ceived by his lis­tener.

Any kind of mu­si­cal cog­ni­tion – which in­deed rests on the com­pre­hen­sion of the mu­si­cal for­ma­tive forces of the motif, the melody, the se­quence, and the har­mony – is ex­clu­sively based on the in­te­grated func­tion­ing of our in­tel­lect.