In the ab­so­lu­te force-field of the har­mony we real­ize that all the op­po­sites are not neu­tral­ized but rather uni­fied com­pletely in har­mony.
There­fore, in the in­fi­nite field of the har­mony there is no room left any longer for all the con­tra­dic­tion which the rela­tive mu­si­cal proc­ess of know­ing still pos­sessed.

On our eventful way to­wards the har­mony we went through the rela­tive field of gain­ing knowl­edge in mu­sic, and this tran­sient mu­si­cal world was gov­erned by con­tra­dic­tion rooting in the op­pos­ing na­tures of feel­ing and un­der­stand­ing. In the field of the har­mony, how­ever, con­tra­dic­tion was dis­solved by the in­te­gra­tive func­tion of the ab­so­lu­te sound-sub­stance.

The con­tra­dictory, how­ever, is not trans­formed into equal­ity. When in the proc­ess of gain­ing knowl­edge in mu­sic the con­tra­dictory sneaks in, it is re­moved on the level of the har­mony by the real uni­fi­ca­tion of those forces which, if one com­pares their lim­ited in­sights, only ex­press the con­tra­dictoriness of their lim­ited and op­pos­ing na­tures.

So, in the end, the con­tra­dictory re­sults less from dif­fer­ently known, par­tial truths, but rather from the very dif­fer­ent in­ten­tions of feel­ing and un­der­stand­ing, which in turn are based on the so es­sen­tially dif­fer­ent ori­en­ta­tion of these two cog­ni­tive fac­ul­ties. And only in the field of the har­mony they show their true func­tion: sud­denly they turn out to be exceedingly pow­er­ful and eager for­ma­tive forces.

Due to the enliv­en­ment of the ab­so­lu­te tone-sub­stance within the feel­ing and un­der­stand­ing, their in­ten­tion to form is even fur­ther en­hanced, but at the same time the ex­tremes of their for­ma­tive skill are in­te­grated by the two be­ing raised into a mu­si­cal world of higher or­der, into the world of the har­mony.
And here, in this most per­fect mu­si­cal force-field, a di­vergence of forces is al­ways a con­ver­gence at the same time – just as, when walk­ing the globe in a cer­tain di­rec­tion, we move away from our point of ori­gin, but ap­proach it again at the same time.

Since now, in the ab­so­lu­te mu­si­cal world of the har­mony, there is no span of time be­tween depart­ing and ar­riv­ing even though we are defi­nitely walk­ing, then, con­se­quently, there is no error of our leav­ing versus the error of our ar­riv­ing, nor the error of our ar­riv­ing versus the error of our leav­ing, nor the error of mov­ing versus our stay­ing in place.

On the ab­so­lu­te mu­si­cal level of the har­mony we clearly iden­tify the per­fect and lively, eventful and in­structive in­te­gra­tion of all con­tra­dic­tions.
And when we now look from the field of our pure self-aware­ness out into the world of our lim­ited think­ing, when we look from the in­fi­nite har­mony to the lim­ited mu­si­cal force-fields of the se­quences, the mo­tifs or even the mu­si­cal sound-space, then we real­ize that the con­tra­dictory – like the fallacy be­fore – has its basis in the lim­ited na­ture of the rela­tive mu­si­cal proc­ess of know­ing, and that we dis­solve it only by re­pair­ing to the ab­so­lu­te level of pure mu­si­cal knowl­edge, into the per­fect world of ex­peri­ence of the har­mony, into the lively field of our pure self-knowl­edge.