The tech­nique of com­pari­son is based on the dual func­tion of our in­tel­lect which we pre­vi­ously de­scribed as be­ing on the one hand:

At the same time, these two proc­esses of mu­si­cal cog­ni­tion, outer cog­ni­tion of the mu­sic lis­tener and in­ner cog­ni­tion of the com­poser, are sub­mit­ted to a com­pari­son by our self-aware­ness.

Thus, our in­tel­lect, our feel­ing and un­der­stand­ing, are in­te­grated to­wards the level of pure self-aware­ness and are thereby raised mu­si­cally into the field of the har­mony; for only in this ab­so­lu­te mu­si­cal force-field of the har­mony our tools of cog­ni­tion can make a per­fect com­pari­son be­tween the unity and the di­ver­sity of mu­sic.

This com­pari­son be­tween the mu­si­cal in­sights of our feel­ing and of our un­der­stand­ing puts our in­tel­lect, and therewith our mu­si­cal proc­ess of know­ing, into the state of a self-suf­fi­cient ei­gen­func­tion.
And in terms of this two­fold mu­si­cal cog­ni­tion of truth, our in­tel­lect swings within it­self.