The outer phenomena that accompany change in the environment – displayed by the structural changes of the musical sound-space – are, due to his natural distance to the environment, less intimate to the individual and therefore less important than the variations of his own character, than the inner play of his qualities which are displayed in the applied motif-technique – in the melody.

To the listener therefore, the tone, or the series of tones performed is far less important than their underlying, deeper musical meaning.

This experience shows that, while listening to the music outside, man is, in fact, quite discretely dedicated to his inner fulfilment, and that he aims at increasing his very own inner joy.

Here classical music demonstrates that man, in his aspiration for the fulfilment of his individual life, is not so much focussed on outer success as it may appear from the routine of day-to-day life. The material strive, represented in music by the outer structuring of the sound-space, is only the outer, necessary effort through which man wants to secure the fulfilment of his inner realm of desires, which is represented in music by the inner enlivenment of the musical sound-space: by the applied motif-technique, the applied sequence-technique, and the applied harmony-technique.

Because the mechanism of inner mastery over the realm of human happiness had vanished from day-to-day life in the past, man became used to pretend that external fulfilment of desires and a materialistic life style were the most important matters for the individual. Thus, correspondingly, the outer analysis of the composition, the outer instrumental structuring of the tone, and the outer ceremony of musical performance gained ever greater public importance, culminating in high material rewards for the superficial "interpreters."

Yet everyone of us knows deep within his own thinking and feeling that the realization of one's very own inner world of desires is most dear to us, and we therefore are far from being amused when we discover that someone wants to restrict us in our holiest, innermost realm of life.

Only because outer material subsistence is a natural prerequisite for the possibility of inner fulfilment of desires, certain materialistic activities are necessary to secure the outer existence.

However, neither the composer nor the true musician have ever devoted themselves to this admittedly necessary outer field of life; not that they considered this outer activity for subsistence insignificant, but they realized that their task was to strengthen the field of the inner formation of life – the world of inner fulfilment of desires – as a natural balance to the outward direction of the material way of life.

Through their music the great musical creators wanted, and still want, to keep alive, in man's everyday awareness, the knowledge that the true purpose of our individual and social life can only be realized through the complete fulfilment of our innermost, personal aspirations.

In the light of this inspiration any external, materialistic activity is but a trivial necessity for securing our inner fulfilment of desires; because to enjoy inwardly one must also be intact outwardly.