By the word, “doubt” means “dou­ble,” or “dou­ble full­ness”; and be­tween these two full­nesses many ques­tions may arise.

In mu­sic, the har­mony is the one full­ness; it en­com­passes all mu­sic and all mu­sic that sounds, too.
This first full­ness is the full­ness of mu­sic on the level of self-knowl­edge just as the mu­si­cal crea­tor ex­peri­ences it.

The sec­ond full­ness is the full­ness of mu­sic in the mu­si­cal force-fields of the se­quences, the mo­tifs, and the tones as it re­veals it­self to us in space and time.
This sec­ond full­ness is the full­ness of our outer mu­si­cal ex­peri­ence, and it re­veals it­self to us within our sys­tem­atic proc­ess of mu­si­cal cog­ni­tion, within our dy­namic rela­tive ex­peri­ence of mu­sic.

These two full­nesses of mu­si­cal knowl­edge are ap­proached in very dif­fer­ing ways.

The one full­ness, the full­ness of the har­mony, is made ac­ces­si­ble through our syn­the­siz­ing feel­ing.
And it swings from the level of our self-con­scious­ness to the worlds of the se­quences and the mo­tifs even to the mu­si­cal sound-space.
The sec­ond full­ness we ac­cess by our ana­lyz­ing un­der­stand­ing; this full­ness reaches from the mu­si­cal sound-space to the motif-spaces and the se­quence-spaces, and even into the in­fi­nite space of the har­mony.

If, in our proc­ess of mu­si­cal know­ing, the ab­so­lu­te sound-sub­stance is not ef­fec­tive, and if our mind, our in­tel­lect, and our senses are not permeated by the vi­bra­tion of the ab­so­lu­te sound-sub­stance, then our feel­ing and un­der­stand­ing be­come un­co­or­di­nated be­cause by their very na­ture by vir­tue of the syn­the­siz­ing func­tion of the feel­ing and the ana­lyz­ing func­tion of the un­der­stand­ing these two pow­er­ful forces of cog­ni­tion di­verge from one an­other and thus tread sim­ply op­po­site paths of mu­si­cal gain­ing knowl­edge.

The absence of a com­mon knowl­edge of the ab­so­lu­te sound-sub­stance on the level of feel­ing and un­der­stand­ing must split our in­tel­lec­tual proc­ess of cog­ni­tion into two sepa­rate paths that con­tra­dict each other by their very na­ture and which could, even with the great­est ef­forts on the side of the mu­si­cian or the lis­tener, not be united with­out the per­cep­tion of the ab­so­lu­te sound-sub­stance.

Nec­es­sar­ily, such a rift in our proc­ess of gain­ing mu­si­cal cog­ni­tion disunites our en­tire proc­ess of find­ing truth and con­fronts us with two fun­da­men­tally dif­fer­ent, if not op­posed, state­ments for eve­ry sin­gle mu­si­cal phe­nome­non.
Based alone on this rift in our proc­ess of cog­ni­tion, the con­tra­dic­tion of these state­ments forces our feel­ing and our un­der­stand­ing into op­pos­ing roles, and each of these tools of cog­ni­tion then tries to reserve it­self the sole right of the proper find­ing of truth.

Set to ac­tion, a proc­ess of cog­ni­tion split in that man­ner pro-duces dis­com­fort in the lis­tener be­cause, as this torn proc­ess of know­ing pro­ceeds, his two tools of cog­ni­tion, feel­ing and un­der­stand­ing, are at jar like a mar­ried couple bickering.
De­ny­ing each other the ex­clu­sive right of find­ing truth, they both claim that very right for them­selves and both are right from their re­spec­tive points of view.

In this man­ner arises in the lis­tener what is com­monly termed doubt, an ex­pres­sion of utter non-com­pre­hen­sion of truth al­though the lat­ter is al­leg­edly ca­pa­ble of in­te­grat­ing two com­pletely op­posed in­sights.

In the proc­ess of gain­ing knowl­edge in mu­sic the natu­ral and suc­cess­ful dis­so­lu­tion of such un­der­stand­able doubt is a di­rect re­sult of the enliv­en­ment of the ab­so­lu­te sound-sub­stance in our mu­si­cal tools of cog­ni­tion. That means it oc­curs on a level com­pletely dif­fer­ent from where the heated con­flict be­tween our fac­ul­ties of know­ing, i.e. feel­ing and un­der­stand­ing, takes place.

Enli­ven­ing the ab­so­lu­te sound-sub­stance within the mu­si­cal tools of cog­ni­tion puts the com­poser, and the mu­sic lis­tener just as well, on the level of mu­si­cal unity be­yond space and time and within, for this cos­mic vi­bra­tion cre­ates the unity be­tween the feel­ing and the un­der­stand­ing.
Thus, the threat of a con­flict be­tween these di­verg­ing forces of cog­ni­tion is elimi­nated by vir­tue of their natu­ral, struc­tural in­te­gra­tion on a su­pe­rior level.