Hereby the entire field of creating music is governed by three basic mechanisms:

by the mechanism of toning-up the composition – in which the self-awareness only stimulates the intellect;

by the mechanism of controlling the music-formative powers – in which the self-awareness by means of the intellect defines the form with its faculty of understanding, and the inner life of the musical unity with its faculty of feeling, and through its sense of hearing listens to the musical result on the level of the mind;

by the mechanism of toning-down the composition – in which the self-awareness calms down the excited intellect which is active creating music.

However, this threefold mastership of creating music not only covers the composition as a whole, but every single element, as well as the groups of elements of the composition – even every single overtone and the complete mastery of it by the self- awareness of the musical poet.

The intellect of the musical creator is that decision-making faculty which serves his self-awareness to achieve twofold fulfilment, and which therefore directs the entire process of composing.

This decision-making faculty stimulates the mind to resound (that is, to become active), and it corrects its process of reverberation.

Thus, the self-awareness, through the feeling, delivers a perfect lively basic vibration to the mind and enlivens it as the absolute sound-substance. This live, all-embracing basic vibration is a gift from the self, through its inherent feeling, to the mind; it breathes life into the mind – that inner life which music requires.

Therefore it is a fundamental step in practical music education to develop that lively, comprehensive, basic vibration on the level of the mind, that vibration which holds the musical work together as a whole, and which prevents the elements of the composition from falling apart.

Developing the perfect, harmonizing sound-substance on the level of the mind is based on the systematic, scientifically founded cultivation of our human feeling.

Without the component of feeling, and without its purposeful application under the direct guidance of the self-awareness, the composer is not able to consciously compose. Holistic, harmonious, pleasing, and meaningful music would never be stimulated to sound within him – let alone be heard inside or even conveyed outside.

The ability of the intellect to discriminate emotionally may also be called "the heat-producing device." It is responsible for dissolving the reverberating form (the structure) of a thought, and it causes the substance (the material aspect) of a thought – the potential of cosmic thinking – to dominate.
The rational ability of the intellect to discriminate may also be called the "cold-producing device"; it gives the thought its definite form of sound. The substance of the thought becomes less dominant and the outer, sounding shape of the thought – the surface of the mind – predominates. To the composer, this outer form of the thought, which structures itself on the surface of the mind, is the diversity of his musical creation, which he hears inside with his sense of hearing.

The power of our human understanding generates the firework of music in its latent form, and also produces our musical ideas in the form of individual flashes of thought – just as the spectral colours are generated from light and interwoven in manifold ways.
Therefore it is a further fundamental step in practical music education to develop, on the level of the mind, that comprehensive basic vibration which determines the multiplicity of the musical work right from the beginning, and which simultaneously prevents its elements from collapsing and the composition from becoming monotonous.

This development of the perfect, multi-structured sound- substance on the level of the mind is based on the systematic, scientifically founded cultivation of our human understanding.

Without this component of understanding and without its well-directed application under the direct guidance of the self-awareness, the composer is not able to consciously compose; and holistic, harmonious, manifold, meaningful music would never be stimulated within him – let alone be heard inside or even conveyed outside.