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• Title: Lecture: Speech and Song
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  • equilibrium for earthly life is a faculty which man does not bring
  • with him. He must acquire it during his earthly life.
  • speech or language is adapted during our life on earth. But in the
  • outwardly but inwardly. In all that he brings forth by way of sound
  • that we bring forth in speech is composed of a consonantal and of a
  • here meant. For when the human being brings forth a musical note in
  • considering the speech that forms a part of present-day civilisation,
  • we find that our soul, whenever it brings forth vowel sounds, makes
  • song, the uttering of the vowel is added to the bringing forth of the
  • differing in inner quality. For it is another thing, whether a Being
  • same time a hearing; and when he says: — Man sees from the
  • stars at rest, and behind it the wandering planets. Whenever a planet
  • rings forth. But behind it there follows, let us say, another planet:
  • causes a different world of sounds to ring forth once more. Thus you
  • have described them, albeit to describe them we must sometimes bring
• Title: Lecture: Inner Nature of Music: Lecture I
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  • will rules the entire world. It forms the stones, then brings forth
  • peculiar transformation of his dream world. When, during meditation,
  • world of the continuity of consciousness, man can bring the tone
  • may also say that during the night the soul feasts and lives in
  • melodies that impress themselves on his etheric body during the night
  • music that resounds here in the physical world and hearing spiritual
  • music during the night.
  • During
  • Although man is unaware of having absorbed tones during the night,
• Title: Lecture: Inner Nature of Music: Lecture II
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  • that there are intentions in nature that she can neither bring
  • end and of pouring forth what has been the intention of nature.
  • belongs during any one of these three states of consciousness.
  • either of the other two. From them, he brings no conscious
  • begins to awaken during his ordinary dream-filled sleep; it is as
  • light and colors. This glimmering light and these flowing colors are
  • world rings out to him. This is how the Devachanic world truly
  • not describe how a tone rings out from the other side are incorrect
  • by the sleep, but he also brings back art from those worlds. When a
  • during the night. Only this flowing ocean of light and colors, of
  • beauty and radiating, glimmering depths, where he has dwelt during
  • grant music a special place, and why music stirs the deepest strings
• Title: Lecture: Inner Nature of Music: Lecture III
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  • to find themselves in the spiritual world and who bring with them
  • individuality will make up the 200 years during his next time in
  • Something extremely significant took place during that period. Man's
  • body. During that age, the “I” gradually united with
  • feel these “I's” hovering above. They would have
  • impossible, for the sentient souls hovering above are so delicately
  • been mute and incapable of uttering sound. They had to master the
  • next stage will bring about the soul's descent into the fluid
  • whirring of its wings, are outer sounds; it is not the soul that
  • the point in time just described, man became capable of pouring forth
  • is much older than the sense of hearing. Formerly, man perceived
• Title: Lecture: Inner Nature of Music: Lecture IV
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  • Anthroposophic Press, Spring Valley, NY. 1982.]
  • I pointed out that certain human functions appearing in early childhood
  • adapted to them during earthly existence. In pre-earthly existence,
  • us begin by considering speech. In the course of humanity's
  • speaking of these forms, one is not always referring only to the
  • culmination. When a human being brings forth a tone or sound, his
  • by picturing how they are built, as it were, out of the consonants.
  • today; he then consciously brings into activity this second stream
  • this seeing is also a hearing; and just as one can say that one sees
  • is actually a hearing of this speaking-singing, singing-speaking.
  • fixed stars and behind it the wandering planets. As a wandering
  • takes a step back, he brings the earthly affairs surrounding him to a
  • art of sculpturing, from the other comes a musical and song-like
  • brings forth and shapes the instrument, the other plays on the
• Title: Lecture: Inner Nature of Music: Lecture V
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  • can be of significance in preparing such a general foundation in
  • must repeat that all concepts come into confusion in encountering the
  • only a reflecting organ; the ear does not actually bring man into
  • example. The eye brings man into connection with all visible forms of
  • on the way to acquiring an experience of the octave? The reason is
  • that the experience of the third begins during the fourth
  • with the astral and etheric. We bring into ourselves the etheric and
  • feeling for the octave brings us to find our own self on a higher
  • arose, and during this time man still felt united with what lived in
  • “I breath in, I breath out. During a nightmare I am especially aware
  • outside himself. He would have been incapable of hearing an
  • wandering around. He could only experience a tone composed of outer,
  • approach the child with them. When entering school, the child can
• Title: Lecture: Inner Nature of Music: Lecture VI
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  • the fifth brings awareness of man within the divine world order. The
  • expression referring to vision for an experience that has to do with
  • hearing). Though man is not conscious of it, the sensation he
  • of the fourth, much later on, was such that during this experience
  • wind instrument, or of a string instrument. Musical instruments
  • today is harmony. I am referring to the sum total of music, not song
  • being an abstract sign. When you hear the ringing of the dinner bell,
  • during the first year of school — at most also fourths, but not
  • Anthroposophic Press, Spring Valley, N.Y., 1971.]
  • age during which predominantly the third is experienced by human
  • with intuition. The form of the soul's composition during the
  • prove that the head of man experiences music. The string instruments
  • between string and percussion instruments — are evidence of how
  • which is connected with string instruments which have a relation to
  • the piano and thinks that one is hearing other instruments; this is
• Title: Lecture: Inner Nature of Music: Lecture VII
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  • could offer one of the time spent during sleep. Everything the
  • human being experiences during his waking hours is experienced
  • paradoxical expression — he cannot bring his consciousness into
  • physical-etheric environment or world in which man exists during this
  • waking life. Likewise, man is in another world during sleep; this
  • surrounds us similarly when we sleep. In this lecture we shall bring
  • Anthroposophic Press, Spring Valley, N.Y., 1972.]
  • that during sleep we are indeed in this super-sensible world and have
  • experienced during that same time. We shall turn to the other side of
  • forces of form, have the task of pouring thoughts into all the world
  • Anthroposophic press, Spring Valley, N.Y., 1973.]
  • which the seventh was the smallest. They missed hearing thirds and
  • post-Atlantean age during the period when people lived mainly in the
  • definitely transported in musical life during the true era of the
  • He brings the musical element close to his corporeality. He
  • Lemurian age we discover a musical experience that excludes hearing
  • joy and suffering, exaltation and depression, but one must say that,
  • themselves during their most important human activities — I
  • able to counter this with the resolve, “We shall bring the
• Title: The Occult Basis of Music
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  • When man creates a work of art, it springs from his image-forming
  • When a man develops these slumbering faculties through concentration,
  • between incarnations, so we can say that during the night the soul
  • the hearing of spiritual music during the night. But the relation of
  • devachanic world. During the night he draws from the world of flowing