It might seem daunting to take so much into account, but the technique I mentioned in the first paragraph assists me a lot. Once all sounds are recognized as musical events which all have relationships with themselves, each other, and the music piece as a whole; the recognition of new events occurring or old events being used again begins to be an important tool. It can help develop a musical fragment into an entire piece. One musical event can come to define an entire symphony, as is the case with Beethoven's Fifth. Or, new musical events can be introduced rapidly such to create a sense of intensity and progression. Thirdly, one musical event can be transformed in some way to create a derived musical event. The derived musical event will maintain a relationship of musical heritage to the original event. Whether the listener realizes this relationship or not, creating a derived musical event will connect two parts of a piece. In most pieces, all these ways of introducing musical events will be used in complicated conjunction.
The human ear does a lot of work for us. As mentioned, whether it is conscious or not, work and thought on the part of the composer put into the musical events of a piece will be noticed by the listener. Many creators of music as well may not even realize the relationships they are creating between the musical events of their piece, but their ear recognizes and propagates it.
All in all, the musical events used are a crucial point to consider when composing, as they provide the logic for many of the basic compositional techniques that our ears bring us to.