In the rela­tive wak­ing state of con­scious­ness our un­der­stand­ing was not yet able to draw the full­ness of nour­ish­ment from the pure en­ergy field of the har­mony – this re­sulted in a lack of sen­si­tiv­ity of this mu­si­cal tool of cog­ni­tion, and there­fore the un­der­stand­ing was not able to make out a clear pic­ture of the mu­si­cal sound-space within the motif-space.

Per­ceiv­ing the mu­si­cal di­ver­sity in the se­quence-space even turned out to be in­com­para­bly more dif­fi­cult for our un­der­stand­ing, be­cause here the un­der­stand­ing was forced to first of all find the mo­tifs in­visi­ble in these spaces.

How­ever, this would have been pos­si­ble only if the un­der­stand­ing had suc­ceeded in ob­serv­ing with the subtle, highly sen­si­tive, cog­ni­zant eyes of the se­quences the world of the se­quence.
In­stead, the un­der­stand­ing con­stantly looked only into the grosser worlds of the mu­si­cal sound-space.

So, due to the ex­peri­ences in its proc­ess of know­ing so far, the un­der­stand­ing put up with miss­ing, at least in its di­rect sur­round­ings, di­ver­sity more and more on its fur­ther mu­si­cal path of knowl­edge.