The hu­mani­ties in mu­sic con­cern the “spiri­tual ele­ment” in mu­sic and the prin­ci­ples of the sys­tem­atic cog­ni­tion and de­scrip­tion of truths through the un­der­stand­ing.

The hu­man mind is the sub­stance through which the com­poser makes the mu­sic re­sound for the first time. And the mind, the phys­ics of the mind, is the mu­si­cal in­stru­ment through which the sound is gen­er­ated.
At the same time, how­ever, the mind is sound it­self, the vi­brat­ing sound-sub­stance in the form of the move­ment of waves on the sur­face of the mind; and the sound­ing com­po­si­tion is the chang­ing vi­bra­tion on the sur­face of the mu­si­cal art­ist’s mind.

The gain­ing of knowl­edge, as we know it from the hu­mani­ties is, ac­cord­ing to the ex­po­si­tions in this book, an ac­com­plish­ment of the self-aware­ness and is achieved by means of its main or­gan, the in­tel­lect.
The self-aware­ness ac­quires the knowl­edge of the mean­ing of the mu­si­cal state­ment through the in­tel­lect by means of the quali­ties of feel­ing and un­der­stand­ing.

More­over, the self-aware­ness trans­lates its in­her­ent knowl­edge into the lan­guage of mu­sic by means of the fac­ul­ties of feel­ing and un­der­stand­ing.
And the ex­pres­sion of this mu­sic “of si­lence” – deep within the con­sci­ence of the mu­si­cal art­ist – is pro­jected by the com­poser’s crea­tive self to the sur­face of his mind, on which his sense of hear­ing feeds.

On the one hand mu­sic is an “a priori sci­ence,” be­cause on the level of the self-aware­ness, through the power of crea­tiv­ity, knowl­edge is sys­tem­ati­cally cog­nized in its seed form, and – start­ing from this in­tui­tive cog­ni­tion – it is pro­jected onto the level of the mind and passed on to the sur­round­ings as an ar­tis­tic mu­si­cal event.

On the other hand, how­ever, mu­sic has also been de­scribed ear­lier as an em­piri­cal sci­ence, be­cause the self, through the in­tel­lect, sys­tem­ati­cally sur­veys with the sense of hear­ing the mu­sic cre­ated on the level of the mind, and so ex­peri­ences – as if from out­side – the con­tent of truth in the mu­si­cal struc­ture of the com­po­si­tion and as­cer­tains its de­gree of mu­si­cal mas­ter­ship.

With ref­er­ence to the basis of mu­si­cal crea­tiv­ity, this em­piri­cal way of com­pre­hend­ing mu­sic could also be called “the com­pre­hen­sion of mu­sic through the natu­ral sci­ences,” and the a priori way of com­pre­hend­ing mu­sic could also be called “the com­pre­hen­sion of mu­sic through the hu­mani­ties,” be­cause a priori mu­sic is cre­ated – by the self, and em­piri­cally it is heard – again by the self.

In a com­plete cycle of the two sci­en­tific views the in­for­ma­tion of the mu­si­cal event ema­nates from the cre­at­ing self and ad­vances through the in­tel­lect to the level of the mind, where it is per­ceived by the sense of hear­ing and lead back again through the in­tel­lect to the hear­ing self.