This cog­ni­tive vi­sion, in which we com­pare the to­tal­ity of the ab­so­lu­te mu­sic in the in­fi­nite mu­si­cal force-field of the har­mony with the rela­tive force-fields of mu­sic, re­veals to us how the lat­ter, in their en­tirety, un­fold from the har­mony.
With this in­sight, our origi­nal con­cept of the re­al­ity of mu­sic is sim­ply turned upside down.

In the rela­tive field of mu­si­cal struc­tural change we gradu­ally in­ferred an in­creas­ingly higher mu­si­cal mean­ing – at least we thought we did.
Thereat our en­tire proc­ess of know­ing was sub­ject to space and time.

How­ever, from the cog­ni­tive world of the har­mony, we now real­ize that the terms “higher or lower mu­si­cal mean­ing” have no rele­vance at all.
Just as one be­lieves one could con­clude an ob­ject from its shadow – al­though the shadow ac­tu­ally is a void of light and, in­deed, noth­ing real – like­wise we make-be­lieve cog­nizers thought to gradu­ally con­clude a higher mu­si­cal mean­ing, a higher mu­si­cal truth, a higher mu­si­cal knowl­edge in our sup­posed rela­tive mu­si­cal proc­ess of gain­ing knowl­edge.

Seen from the ab­so­lu­te mu­si­cal field of the har­mony, how­ever, such a sup­posed proc­ess of know­ing takes place as lit­tle as a shadow gives us the ob­ject by which it is thrown.

From the field of pure self-knowl­edge, from the ab­so­lu­te force-field of the har­mony, we un­der­stand the non-re­al­ity of the rela­tive sphere of mu­sic – and, cor­re­spond­ingly, of rela­tive mu­si­cal knowl­edge – and we are even sure now that our per­sonal mu­si­cal way of knowl­edge into the in­fin­ity of the har­mony was only pos­si­ble by vir­tue of a mira­cle – al­though, maybe, a mu­si­cal mira­cle.

Such is the na­ture of mu­si­cal knowl­edge.