Here the realm of knowl­edge-giv­ing si­lence is reached, from where the truth­ful art­ist cre­ates mu­sic for his own sake as well as for the sake of his lis­ten­ers; for his own sake, be­cause this kind of natu­ral crea­tiv­ity means an up­surge of in­ner bliss within the art­ist him­self, and for the sake of the lis­tener, be­cause within the lis­tener, too, the ex­peri­ence of such natu­ral, in­ner hu­man ac­tiv­ity is evoked which brings hap­pi­ness and joy.

The lis­tener then suc­ceeds in get­ting a glimpse of the po­ten­tial of natu­ral, in­ner hu­man evo­lu­tion; and the de­sire to gain mas­tery over this hap­pi­ness-giv­ing field of life natu­rally awak­ens within him.

This start­ing point of in­ner hu­man crea­tiv­ity, in which to­nal­ity and rhythm are fused into unity, is the very be­gin­ning of mu­sic.

This be­gin­ning with­out end is struc­tured in the con­scious­ness of the lis­tener by the mu­si­cal in­te­gra­tion of un­bounded space with in­fi­nite time, and a men­tal state of sus­pen­sion is at­tained: an ex­pres­sion of two­fold un­bound­ed­ness.
Here lies the seed of man’s love of mu­sic – of man’s love of life.

Thus, rhythm is not at all the means for the iso­lated struc­tur­ing of time in a com­po­si­tion, but ac­cord­ing to the much more so­phis­ti­cated views just out­lined, rhythm is the only ap­pro­pri­ate means for the glo­ri­fi­ca­tion of space.

On the other hand, to­nal­ity is not an iso­lated mu­si­cal pa­rame­ter but the only ap­pro­pri­ate means for the glo­ri­fi­ca­tion of time.

This is the ex­plana­tion for the in­ti­mate un­ion of space and time in mu­sic.