Through the intellect as the tool, the self-awareness of the composer uses the mind, and through the coordination of feeling and understanding he rules it in a completely natural way.

The mind is that substance, that material from which each individual thought is made – including the musical thought. Just as the smith heats the iron in a forge, shapes it while it is hot and then hardens it with cold – thus giving the form durability – in the same manner the self warms the material of the mind in the forge of the feeling, shapes it through the coordinated function of feeling and understanding, and finally hardens it – that is, gives durability to the thought through the cooling effect of the understanding.

This continuous forging and reforging of a thought into ever new shapes by adding heat and cold, and heat and cold successively, is the mechanical process of creating music on the level of the mind. And after this process of the creative shaping of thought the mind delivers the complete musical sound pattern to the self-awareness of the composer.

Like a feeler, the sense of hearing palpates the shape of the musical thought and surveys its content of warmth or cold. With this information of the thought-structure, the self-awareness of the composer hears the complete musical sound pattern, and from the information on the thought-temperature the self-awareness evaluates the potential for further sounding diversity.

During this inner concert, which is directed towards greater and greater fulness, the self-awareness experiences a powerful joy, and if it desires to enhance this joy even further, it increases the coordination between feeling and understanding, and the mind, through the sense of hearing, delivers to the self a musical image of an even greater perfection, of even greater variety, and of even stronger unity: a more comprehensive harmony.

Apart from the fact that the self-awareness rejoices in this self-created inner concert, the sense of hearing, while receiving more subtle mental-musical information, becomes stronger through the energy contained in this thought-substance and becomes more and more refreshed through the intelligence contained in this thought-structure. Thus the capability of the sense of hearing in conveying information is considerably improved, which in turn unites it even closer with its employer, the self-awareness.

The direct, free sovereignty of the self-awareness over the mind, the free sovereignty of the self-awareness over the sense of hearing, and the structural analysis of the effect of the mind, or rather the effect of a musical thought produced from it, on its environment – on the physiology of the musician, and on the listener – is the foundation for any sort of meanin-gful musical activity and is the natural basis for an authentic interpretation; for, if the interpreter does not create authenti-cally as well, the effect of the original will not be achieved; the musical truth will not be conveyed and the inner, joyful, fulfilling astonishment of the listener will be missing. Quotation

Therefore, true musical education begins deep within the life of the artist himself; and here also lies the key to his influence of human dignity upon his environment. The integrated mastery over all these above-mentioned technologies must be learned perfectly, so that it can be applied consciously and naturally.

"Naturally" here stands for "artistically" and "skilfully" (as different from mere "affectedly"), that is without strain and completely playfully.

"Creating naturally" means to advance, without personal impediments, to new worlds and to leave old worlds behind while vivaciously and fearlessly overcoming possible obstacles of one's own inner resistance.