Due to this infinitely subtle inner breath the mind, and therefore also the composition, and the musical performance as well, become enlivened and blossom into a work of art.

If this inner breath is only slightly effective on the level of the mind - which means that the coordination between inner breath and mind is only poorly developed - then the intellectual interests of man will gravitate all automatically, and as if matter of course, rather towards the mundane sphere of the lifeless, and will principally concern themselves with expressions of the material world.

If, on the other hand, the inner breath is very effective in the mind, which means that the mind and the inner breath are perfectly integrated, and are merged into one on the level of the self, then such a highly evolved spiritual person will predominantly occupy himself with the alive; he will realize that all of nature is but the expression of life itself, and in his outer activity, too, in his musical performance, he will only express life.

It is the inner breath which basically constitutes the liveliness of the composition. And it depends on this liveliness, how much and how comprehensively a composition is able to appeal to the listener on a conscious level.

This inner breath, and the life it brings, turns the musical work into a very personal statement of the soul - as opposed to some superficial intellectual reasoning. And also it is the inner breath, due to which music appears so infinitely more familiar to us than all outer, intellectual statement.

It is the conscious, and only the conscious portion of the inner breath that makes the experience of music so satisfying to the understanding, and so fulfilling to the feeling. Therefore, the inner breath is the basis of music.

The inner breath of music is the totality of space and time, of causality, and of freedom from purpose; it is the totality of freedom for all the motifs beyond space and time and beyond causal considerations; it is the totality of freedom beyond space and time for all the sequences - and yet it comprises space and time in their substance.

This inner breath is beyond the birth and the passing away of music. It is the infinitely condensed manifold beauty of the composition. Compared to this ever lively continuum of reality a composition appears, on the level of the mind, as a mere shadow.

Here lies the beginningless and the endless field of music which, through the creativity of the artist, radiates its light into the world of sounds, and the glory of which again reaches the ear of the listener through the musical performance.

So far, in conventional music theory this radiance of the light of life was comprehended as a mere shadow. At all times, however, the practical aspect of music went further into depth than its theoretical aspect. And thanks to this fact, love for music has been preserved until today.