Our five senses of per­cep­tion – hear­ing, touch, sight, taste, and smell – are only in­di­rectly in­volved in the proc­ess of gain­ing knowl­edge. They convey to the in­tel­lect, to our or­gan of cog­ni­tion, the play­ful ex­pres­sion of that which has been men­tally cre­ated, and thus com­ple­ment the monologue of our self-aware­ness to the full cycle of a thought which is cre­ated out of the self-aware­ness, and which again merges back into the self-aware­ness.

The thought is of­fered to the de­lighted senses by the mind, and is only the con­crete image of an in­ner, ab­stract form, of an idea in the world of our self-aware­ness. And from the level of his self-aware­ness, the mu­si­cian com­pre­hends the syn­the­sis of con­tent and form and ex­pres­ses this unity in his mu­sic – the unity of the mu­si­cal crea­tor with the mu­sic cre­ated and with the proc­ess of cre­at­ing mu­sic.

As ex­plained ear­lier it is the mu­si­cal poet in par­ticu­lar who condenses con­tent and form in such a way that these two com­po­nents do not fall apart so that the mu­sic will reach both the feel­ing and the un­der­stand­ing of the lis­tener in an in­te­grated man­ner.
At the same time, we have ex­plained, his mu­si­cal in­stru­ment is to the mu­si­cian at best a means for the outer pres­en­ta­tion of what he origi­nally must hear within.
And more­over we have stated that speech ba­si­cally is also the do­main of mu­sic – which means that es­sen­tially there is no dif­fer­ence be­tween speech and mu­sic.