The mu­si­cal-ar­tis­tic ob­jec­tive origi­nates from the natu­ral po­ten­tial of the art­ist:

So, the prac­ti­cal mu­si­cian must not only have a deep un­der­stand­ing and make it avail­able to his fel­low men, but he must also know very pre­cisely what his neighbour really needs – not what he su­per­fi­cially wants, i.e. he must first know the cur­rent state of knowl­edge and in­sight of his fel­low man.

If his fel­low man is not liv­ing in­fin­ity with his feel­ing and un­der­stand­ing then the art­ist must first give him the taste of this re­al­ity and in­spire him to con­fi­dently attain un­bounded aware­ness.

If the lis­tener is al­ready es­tab­lished in in­fin­ity, the art­ist must glo­rify the di­ver­sity of life in un­bound­ed­ness for him.

In the first case, when the art­ist is obliged to in­spire the lis­tener of lim­ited think­ing for un­bound­ed­ness, the com­po­si­tion must dis­play a continu­ous flow from the bounded to the un­bounded.

In such a com­po­si­tion the mo­tifs will con­tinu­ally un­fold into melo­dies and will be led sys­tem­ati­cally by the in­fi­nite guid­ance of the melody into un­bounded lively si­lence.

On their path of life, there­fore, the melo­dies will trans­form into se­quences; and the se­quences even­tu­ally will as­sume the in­fi­nitely mani­fold form of har­mony it­self.

Thus, in such a com­po­si­tion, the con­crete mu­si­cal sound-space, as we per­ceive it with our in­ner hear­ing, is con­tinu­ously re­fined and trans­formed step by step into the phe­nome­non of our hu­man con­sci­ence.

Only from here can the com­po­si­tion enli­ven the world of si­lence in the mu­sic lover; and the lis­tener real­izes his own in­ner­most mul­ti­plic­ity, his in­ner­most mani­fold form: he cog­nizes the har­mony it­self.