For the great composers of all times it was completely natural to control and rule the inner world of their thinking, and this sovereignty was preceded by an intensive study of their inner forces. This study was based on the establishment of a system for their control and was systematically developed and refined, which in turn resulted in a refinement of the musical art.

From the high degree of perceivable order and the continuity of this compositional design we have good reason today to conclude that the great musical artists must have been creative from a powerful waking state of consciousness - a world of lively fantasy, governed by the self. This is the reason why the great musical poets are so very much alive in the memory of the people.

Thus, the inner process of the articulation of speech proves to be the process of articulation of our mind, the process of articulation of our thinking, the mechanism for the creation of our thoughts. And to rule this process of articulation means: to rule the process by which one generates a thought, sustains it, changes it, and allows it to fade again.

This sovereignty over his inner organ of speech is essential for the musician’s artistic achievement - for if he does not master the mechanism of his musical imagination how then is he going to master music? What does he intend to communicate to his neighbour? And on what basis?

Before the musician forms a sound with the help of an instrument he must first articulate it mentally, think it consciously, then hear it consciously, and he must consciously feel the manifold effect on himself of the sound he is thinking. Only then is he able to assess the effect of this sound on his neighbour.

If the process of making music does not take place in this completely conscious manner, the musician does not know at all what he is doing. And this type of musician is rejected by all great musical creators.