The crea­tive mu­sic lis­tener and the mu­sic crea­tor achieve an au­then­tic mu­si­cal state­ment when fi­nally their outer and in­ner mu­si­cal in­sight of truth pro­duce one sin­gle, in­te­grated mu­si­cal state­ment.
This ho­lis­tic state­ment rep­re­sents the per­fect unity of the mu­si­cal truth per­ceived from with­out and from within.

The au­then­tic mu­si­cal state­ment then re­sults sys­tem­ati­cally-logi­cally from the com­pari­son men­tioned above.

The au­then­tic mu­si­cal state­ment pro­duces the per­fect mu­si­cal con­cert within the crea­tive mu­sic lis­tener.

This first mu­si­cal per­form­ance of all first per­form­ances is the mu­si­cal play of pure self-aware­ness with it­self on the level of the har­mony, and it com­bines in the lis­tener the unlim­ited mu­si­cal crea­tion of truth with the per­fect con­vey­ance of truth.

The tech­nique of com­pari­son in mu­sic com­bines the cog­ni­tive hear­ing with the proc­ess of cre­at­ing mu­sic, and thus en­ables a crea­tive proc­ess in which the clas­si­cal com­poser is deeply rooted in the tra­di­tion.
There­fore, this tech­nique of com­pari­son guar­an­tees that the mu­si­cal crea­tor is firmly es­tab­lished in his tra­di­tion.

The in­te­grated mu­si­cal state­ment then rep­re­sents the word of mu­sic of a mu­sic crea­tor an­chored in the tra­di­tion; and now the mu­si­cal tra­di­tion is to him the mu­si­cal, eter­nal pres­ence of truth in the in­fi­nite space of the har­mony, in the spaces of the se­quences, and in the spaces of the mo­tifs but not the lim­ited pres­en­ta­tion of this truth in the sound­ing spaces of mu­sic.

When lis­ten­ing to mu­sic out­side, the in­tel­lect ana­lyzed the di­ver­sity of the sounds mov­ing in the mu­si­cal sound-space and de­duced the mu­si­cal sense.
Thus, it dis­cov­ered the mu­si­cal mean­ing in the motif-space, in the se­quence-space, and fi­nally in the space of the har­mony and it did so in a more and more com­pre­hen­sive man­ner.

Con­cen­trat­ing its in­her­ent ana­lyz­ing abil­ity, the in­tel­lect sys­tem­ati­cally de­duced from di­ver­sity to unity.

When, in this proc­ess of re­fine­ment of lis­ten­ing, our forces of cog­ni­tion ad­vance to the field of great­est mu­si­cal sub­tlety and most com­pre­hen­sive mu­si­cal or­der, then our in­tel­lect, our feel­ing, and our un­der­stand­ing reach the level of the en­ergy and in­tel­li­gence of pure self-aware­ness.

In this moment our in­tel­lect awak­ens in its syn­the­siz­ing func­tion, and what used to be mu­si­cal analy­sis so far, turns sud­denly into mu­si­cal syn­the­siz­ing what used to be lis­ten­ing to mu­sic so far, turns spon­ta­ne­ously into cre­at­ing mu­sic.

The road of knowl­edge to the unity of the mu­si­cal mean­ing led our in­tel­lect sys­tem­ati­cally to the ex­peri­ence of pure self-con­scious­ness, be­cause the mu­si­cal in­sight into the world of the har­mony is auto­mati­cally linked with the ex­peri­ence of pure self-con­scious­ness.

Through the cog­ni­tive forces of our feel­ing, the self-knowl­edge stirred our natu­ral po­ten­tial of syn­the­sis, and so, from the level of our pure self-aware­ness from the space of the har­mony through the se­quence-spaces, through the motif-spaces, and through the mu­si­cal sound-space we made deduc­tions in steps from the natu­ral unity of our in­ner mu­si­cal crea­tive forces to the mul­ti­plic­ity of a new in­ner crea­tion of mu­sic.

This is the moment when we real­ize that we are mu­si­cally crea­tive.