Mu­sic knows very dif­fer­ent lev­els of gain­ing knowl­edge: lower, higher, still higher, and high­est.
The lowest level of gain­ing knowl­edge in mu­sic lies in the field of the mu­si­cal sound-space.

Eve­ry­thing on this level, that is un­enli­vened or hardly enli­vened, is por­trayed most clearly.
And the analy­sis of the spec­tra act­ing in the mu­si­cal sound-space pro­vides a de­tailed pic­ture of na­ture on the atomic and mo­lecu­lar level.

But in the depth of these struc­tures in the field of that mu­si­cal logic by which the tonal struc­tures move the cog­ni­zant mind dis­cov­ers a new world of a higher or­der: the world of the motif. And in this world the di­men­sion of in­di­vid­ual de­vel­op­ment, in­di­vid­ual budding, steady growth, and fi­nally of entry into the world of the se­quence, into the world of the so­cial space of mu­sic, opens to the mind.

All mo­tifs if they no longer romp about play­fully in their own spaces tend to­wards the se­quence-spaces as their own place of ori­gin, their birth-house from where they origi­nally came; or they strive out­side: to­wards the mu­si­cal sound-space where they enli­ven what needs to be enli­vened.