In such a case, how­ever, the mu­si­cal gain­ing knowl­edge finds a sud­den end here, be­cause the proc­ess of cog­ni­zant condensation, which is in­dis­pen­sa­ble for gain­ing true mu­si­cal knowl­edge, is abruptly aban­doned.

This fact cor­re­sponds to the case of a man who wants to make up his mind about some­thing and sits down to think it over in all quiet – but then im­me­di­ately switches on the TV only to watch the next best pro­gram be­ing broad­cast.

In all prob­abil­ity one can rule out that, by this ap­proach, he is able of pur­su­ing his per­sonal prob­lem with the nec­es­sary at­ten­tion.

In an analogous man­ner, all quest for a deeper mean­ing in mu­sic is brushed aside in the per­form­ance by sim­ple tonal pat­terns, or by the struc­tur­ing of sim­ple tonal pat­terns re­spec­tively – as, for ex­ample, pe­ri­odi­cal vi­bra­tions or pe­ri­odi­cally struc­tured rhythm – be­cause through the use of pe­ri­odi­cal tone pat­terns the at­ten­tion of the lis­tener is forci­bly shifted to his physi­ol­ogy.

This means, that the lis­tener’s en­tire cog­ni­tive proc­ess is forced into outer fields of lower mu­si­cal den­sity and of cor­re­spond­ingly in­fe­rior mu­si­cal or­der, and that the cog­ni­tive en­er­gies of the lis­tener are there­fore driven into the fields of lower sub­stan­tiality of mu­si­cal truth where they exhaust them­selves and weaken him al­most sys­tem­ati­cally.