When the for­ma­tive quali­ties of our neu­ro­physi­ol­ogy pro­ject the out­ward mu­si­cal re­al­ity of the con­cert onto the sur­face of our mind, and our think­ing as­sumes the form of the outer mu­si­cal pres­en­ta­tion, then our (in­ner) sense of hear­ing com­pre­hends in its proc­ess of per­cep­tion the sound­ing struc­ture of the mind and passes this in­for­ma­tion of the mu­si­cal event through our in­tel­lect (through our feel­ing and our un­der­stand­ing) on to our self-aware­ness.

By iden­tifying it­self with the mu­si­cal pro­jec­tion as it sounds in our mind our self-aware­ness, in turn, is be­ing stimu­lated to vibrate, and by means of our in­tel­lect it pro­duces associative pat­terns, re­lated to the mu­si­cal work, on the sur­face of our mind. In prin­ci­ple, pro­duc­ing these pat­terns of as­so­cia­tion cor­re­sponds to a crea­tive act.

But still, there is a dif­fer­ence to a true crea­tive act, in that the crea­tive im­pulse came from with­out and not ex­clu­sively from within.

This is the method of “crea­tive hear­ing,” and it serves to edu­cate the mecha­nism of our crea­tiv­ity.

In this proc­ess, our in­tel­lect is taught to im­ple­ment cor­rective de­ci­sions and to rec­tify the pic­ture of the mu­si­cal re­al­ity which is de­liv­ered from out­side by the in­ter­preter and to refine it: to bring it to per­fec­tion: to re­store it to the state of truth that was origi­nally ex­pres­sed by the com­poser.

The tones rep­re­sent the world of the un­enli­vened na­ture just as, for ex­ample, phys­ics and chem­is­try cir­cum­scribe it with words.
Thereat, in the mu­si­cal sound-space, mu­sic rep­re­sents this un­enli­vened sphere of na­ture di­rectly while phys­ics and chem­is­try, for ex­ample, only de­scribe it, cir­cum­scribe it with words, which lack the char­ac­ter of an il­lus­tra­tion.

By ap­ply­ing higher prin­ci­ples of or­der and more subtle means of form­ing, the mu­si­cal mo­tifs as the in­ner, tran­scen­den­tal re­al­ity of the tones depict the world of in­di­vid­ual cog­ni­tion just as psy­chol­ogy, too, de­scribes it with words.
By vir­tue of the mu­si­cal logic, mu­sic in this proc­ess pic­tures the motif-space, this sub­jec­tive in­di­vid­ual sphere of knowl­edge di­rectly in the depth of the mu­si­cal sound-space whereas psy­chol­ogy de­scribes it with words alone, with­out the char­ac­ter of an il­lus­tra­tion.

By ap­ply­ing even higher prin­ci­ples of or­der and even more subtle means of form­ing, the se­quences as the in­ner tran­scen­den­tal re­al­ity of the mo­tifs rep­re­sent the world of liv­ing so­cial knowl­edge just as so­ci­ol­ogy, too, cir­cum­scribes it with words.
By vir­tue of the mu­si­cal logic, mu­sic di­rectly pic­tures this sub­jec­tive, so­cial sphere of knowl­edge in the depth of the motif-spaces while so­ci­ol­ogy de­scribes it only by word, with­out the char­ac­ter of an il­lus­tra­tion.

By ap­ply­ing the high­est mu­si­cal prin­ci­ples of or­der and the most subtle mu­si­cal means of form­ing, the har­mony as the in­ner, tran­scen­den­tal re­al­ity of the se­quences de­picts the world of in­di­vid­ual, so­cial, and eco­logi­cal unity, as psy­chol­ogy, so­ci­ol­ogy, and ecol­ogy, too, to­gether cir­cum­scribe it with words.

In the depth of the se­quence-spaces, with the help of the mu­si­cal logic, mu­sic di­rectly pic­tures this su­preme and most per­fect sphere of cog­ni­tion of in­di­vid­ual, com­mu­nity, and ecol­ogy as a sin­gle entity while psy­chol­ogy, so­ci­ol­ogy, and ecol­ogy to­gether de­scribe it only by word, with­out the char­ac­ter of an il­lus­tra­tion.