If our cog­ni­tive proc­ess is not be­ing blocked in this way, and if – due to a natu­ral struc­ture of the tonal pat­tern and its natu­ral pat­tern of vi­bra­tion – we can be enticed by the in­ter­preter into the in­ner world of the tone, then we dis­cover the motif that un­der­lies the tone, then we per­ceive the lively in­ner form of the tone.
By means of our in­tel­lec­tual and emo­tional cog­ni­tive power we deduce, in ac­cor­dance with the laws of the mu­si­cal logic, the course of de­vel­op­ment of the mu­si­cal motif, the evo­lu­tion of the soul of the tone.

Only this kind of har­mo­ni­ously un­fold­ing in­for­ma­tion we can pass on to our self-aware­ness through our in­tel­lect. Then, in its own pat­tern of vi­bra­tion, our self-aware­ness dis­cov­ers simi­larities or identi­ties with the ab­stract pat­tern of vi­bra­tion of the motif, and it there­fore iden­ti­fies it­self with it in vari­ous de­grees.
In this moment, we feel un­der­stood in our very na­ture, for in the motif we ac­tu­ally rec­og­nize our own in­di­vid­ual pat­terns of be­hav­iour.

Mu­si­cal knowl­edge of the in­di­vid­ual pat­terns of be­hav­iour is not di­rectly of em­piri­cal na­ture, be­cause the tone pat­terns dis­played on the sur­face of our mind are not the motif it­self, but only its sound­ing shell which sur­rounds the motif, just as the clothing sur­rounds the body.

And just as, by vir­tue of logi­cal con­clu­sions, we con­clude some­one’s physi­cal build from his clothes with­out requiring X-ray vi­sion, or,

The gen­eral struc­ture of the mu­si­cal sound-space al­ready gives us an idea of whether this sound-space is gov­erned by lively, in­ner, mu­si­cal forces – whether this mu­sic has had its source within some­one, or whether it has been pro­grammed as if by a com­puter on the lines of con­ven­tion­ally stud­ied com­po­si­tion, and fol­low­ing spe­cific, pre-scribed, com­po­si­tional pat­terns.

To find this out, we need no lengthy analy­sis, be­cause even from the struc­ture of a sin­gle tone we can tell what to ex­pect from the en­tire per­form­ance.

Only in its out­er­most reaches – i.e. in the range of physi­ol­ogy, if at all – does the liv­ing move in steps or in pe­ri­odi­cal pat­terns.

How­ever, the higher our mu­si­cal think­ing is de­vel­oped, the more sen­si­tively we ex­am­ine the sub­tler mu­si­cal struc­tures, and the more com­pre­hen­sively we fathom the mu­si­cal mean­ing, and all the more re­lia­bly we will real­ize on the level of our own con­scious­ness, that pe­rio­dic­ity in the motif-space falls un­der what we term “set phrases” to­day, or that a step-wise struc­ture in mu­sic cor­re­sponds not to some­one’s natu­ral path of evo­lu­tion, but rather to some­one drop­ping down to the hard ground from many me­ters high.

The in­ner or­der of the mu­si­cal motif-space, the den­sity of its mu­si­cal struc­ture, makes any un­natu­ral mu­si­cal move­ment as con­spicu­ous as the un­natu­ral move­ment of a sin­gle leg in a centipede, or as a sin­gle tooth, bent or bro­ken, in a comb.

In his natu­ral feel­ing, the lis­tener per­ceives a travesty of pe­ri­odi­cal or serrated tones in the har­mo­ni­ous mu­si­cal den­sity of or­der of the motif-space as unsuit­able or even un­com­fort­able, and he sees a struc­tural dis­tortion in the motif-space as clearly as he can see that some­one has one arm too many or too few.