Searching Rudolf Steiner Lectures (by Bn/GA Number) Matches
You may select a new search term and repeat your search.
Searches are not case sensitive, and you can use
regular expressions
in your queries.
Query was: music
Here are the matching lines in their respective documents.
Select one of the highlighted words in the matching lines below to jump
to that point in the document.
- Title: Lecture: Human Life in the Light of Spiritual Science
Matching lines:
- comparison, that the musical ear has to the perception which is focused
- merely upon the vibrating strings of musical instruments. In the external
- in terms of string vibrations, etc. But the musical ear receives a very
- way that the musical ear is related to the concept which only concerns itself
- of vibrating strings upon a musical ear. And during the time when we see the
- made with musical hearing, shows Spiritual Science to be merely a subjective
- Title: Lecture: Human Life in the Light of Spiritual Science
Matching lines:
- comparison, that the musical ear has to the perception which is focused
- merely upon the vibrating strings of musical instruments. In the external
- in terms of string vibrations, etc. But the musical ear receives a very
- way that the musical ear is related to the concept which only concerns itself
- of vibrating strings upon a musical ear. And during the time when we see the
- made with musical hearing, shows Spiritual Science to be merely a subjective
- Title: Oswald Spengler: Article I: Spengler's "Perspectives of World History"
Matching lines:
- — and is manifest throughout our music. Book-printing
- Title: History of the Middle Ages: Lecture VI: Culture of the Middle Ages
Matching lines:
- sciences were: Geometry, Arithmetic, Astronomy and Music.
- today. Music was not the same as that which we call music today.
- Music was the science
- In music they sought clarity concerning the laws of harmony, of
- Title: Schiller and Our Times: Lecture IV: Schiller's Weltanschauung and his Wallenstein
Matching lines:
- with his Wallenstein. Schiller started from an inner musical
- Title: Schiller and Our Times: Lecture V: Schiller, the Greek Drama and Nietzsche
Matching lines:
- which was akin to music, and given by the chorus which
- accompanied the action represented in mimicry. Thus the musical
- the Spirit of Music.
- music.
- Title: Schiller and Our Times: Lecture VI: Schiller's Later Plays
Matching lines:
- Birth of Tragedy from the Spirit of Music, in which he
- levels by re-introducing the musical element, was taken up
- musical dramas: Wagner harked back to the myth and chose music,
- symphony. We can see the drama growing out of a sort of musical
- Title: Spiritual Teachings of Soul/World: Course V: Lecture II: What Do Our Scholars Know about Theosophy?
Matching lines:
- You listen to this sonata with musical ear; you indulge in the marvellous realm
- musical ear. But there stands a piano, in it strings are stretched. These strings
- has a musical ear will say that that is not true which the other investigates
- forces, and what he hears with the musical ear — the swinging string expresses
- of which Goethe speaks: what the skilled ear of the musician is, this is the
- Title: Origin and Destination of Humanity: Lecture VII: The Spirit-land
Matching lines:
- the most marvellous words. The old Pythagoreans spoke of the music of
- Nobody else knows the music
- Title: Origin and Destination of Humanity: Lecture VIII: Friedrich Nietzsche in the Light of Spiritual Science
Matching lines:
- The Birth of Tragedy from the Spirit of Music (1872), we find
- The Birth of Tragedy from the Spirit of Music was his first
- Birth of Tragedy from the Spirit of Music delivers important clues
- finds the true being of the chaos of the basic instincts in music. That
- being which expresses itself in the will, but the being of music became
- that music offers a solution of the riddle of the world.
- There is music not only
- something of a higher music sounds to us. Not the music which we perceive
- in the sounds of music which come toward us from the outside world.
- Nietzsche just as Schopenhauer regards the musical expression as the
- Greeks expressed themselves. This was a language that was music at the
- earth but floats above the earth, and the dramatic music was used as
- Title: Lecture: The Inner Development of Man
Matching lines:
- called, Music of the spheres. This is by no means meant
- Title: Origin and Destination of Humanity: Lecture IX: On the Inner Life
Matching lines:
- then the world begins sounding to him. This is the Pythagorean music
- Title: Origin and Destination of Humanity: Lecture X: Goethe's Gospel
Matching lines:
- the Pythagorean music of the spheres:
- music of the spheres.
- Title: Origin and Destination of Humanity: Lecture XIV: Goethe's Secret Revelation III
Matching lines:
- music. Then he and the girl begin a game with little warriors. Against
- on which the young man comes now into the centre. Music sounds from
- in a triangle; the miraculous music sounds from their instruments. Also
- from which a heavenly music issues forth. He has arrived at the region
- Title: Origin and Destination of Humanity: Lecture XIX: Schiller and the Present
Matching lines:
- The working of beauty becomes a big universal music and he expressed
- Spirit of Music (1872) Nietzsche (1844–1900) tries to explore
- took place as a divine drama in the simple music of the past. From this
- Title: Origin and Destination of Humanity: Lecture XXIII: The Arts Faculty and Theosophy
Matching lines:
- dialectic, astronomy and music were taught. The latter was understood
- if one looks at it as a pedagogue. If anyone studies painting or music,
- he is not yet a painter or a musician. That also applies to the pedagogue.
- art as with the painter or musician, so that his mind, like physical
- Title: Two Essays on Haeckel: Essay II: Haeckel, "The Riddle of the Universe," Theosophy
Matching lines:
- Tones and sounds, this music of the spheres, now become, for
- existence of something approaching this music, and only those
- Title: Riddles of the World: Lecture III: Basic Concepts of Theosophy. Soul and Spirit of the Human Being
Matching lines:
- sphere music. It was not a mere comparison; it was the
- been assigned.” These words sound from the world music of
- Title: Riddles of the World: Lecture XIV: The Children of Lucifer
Matching lines:
- of Tragedy out of the Spirit of Music (1869).
- music of the spheres, something of that old choir of which also
- drame musical. Richard Wagner, son œuvre et son
- the musical drama greatly; for Marguerita Albana had introduced
- Title: Riddles of the World: Lecture XV: Germanic and Indian Secret Doctrines
Matching lines:
- nature as we have seven tones of the musical scale or seven
- Title: Riddles of the World: Lecture XVI: German Theosophists at the Beginning of the Nineteenth Century
Matching lines:
- something like music with the abstract lines of mathematics and
- schools, but if you become engrossed in the inner music of
- Title: Riddles of the World: Lecture XVII: Siegfried and the Twilight of the Gods
Matching lines:
- basis of the great renewal of art by the poet musician Richard
- the high element of expression, music, to produce the deepest
- of music and by the supernatural taking place before his
- Title: Riddles of the World: Lecture XVIII: Parzival and Lohengrin
Matching lines:
- love flowing in a world where the gold rules in his music
- Title: Lecture: Woman and Society (Die Frauenfrage)
Matching lines:
- is especially music which is able to send its vibrations deep into
- Title: Riddles of the World: Lecture V: The Question of Women's Rights
Matching lines:
- music deeply penetrate the etheric body.
- Title: Lecture: Occult Significance of Blood
Matching lines:
- (musical) scale, seven series of atomic weights [in the
- Title: Supersensible Knowledge: Lecture V: Education in the Light of Spiritual Science
Matching lines:
- astral body. Music of excellence, both vocal and
- Title: Illness and Death
Matching lines:
- complicated musical instrument. It is a question here of what the
- Title: Supersensible Knowledge: Lecture VI: Illness and Death
Matching lines:
- camera obscura, the ear like a complex musical instrument.
- Title: Supersensible Knowledge: Lecture IX: Wisdom and Health
Matching lines:
- people who have no sense for music or paintings; likewise
- Title: Supersensible Knowledge: Lecture XII: Richard Wagner and Mysticism
Matching lines:
- these things. The performances were dramatic musical
- antiquity music, drama, dance and architecture did not
- himself. It has enabled him to visualize music and drama in
- an integral part in performances, when music expressed what
- he recognized something of the musical-dramatic element of
- for harmony, for tonality in music, but insisted that
- from them must flow into the music. One such related art was
- Rhythm of dance was reflected in the harmony of the music.
- existed among dance, music and poetry. The musical element
- and poetry no longer added its contribution to the musical
- he particularly wanted to bring together, music and drama. He
- In music, on
- Wagner saw music as able to express the inner life, but
- music, only conveyed impulses when they became
- in music, the whole range of inner sensations, and in drama,
- musician worked separately on a production. The poet wrote
- his part, the musician then came along and interpreted what
- was written through music. But the task of music is rather to
- conveying impulses that live within human beings. Music
- music.
- Maximum number of matches per file exceeded.
- Title: Supersensible Knowledge: Lecture XIII: The Bible and Wisdom
Matching lines:
- spiritual music at this level of consciousness. Spiritual
- thought of as ordinary music. The spiritual world, the
- Title: Illusory Illness: Lecture I: Illusory Illness
Matching lines:
- gaiety into his soul with gay music, etc., but one brings forth
- Title: Illusory Illness: Lecture II: Feverish Pursuit of Health
Matching lines:
- would punish themselves were they to sit with him in the music
- Title: Knowledge of Soul and Spirit: Lecture XIV: The Hell
Matching lines:
- are added up and that a musician is descended from a family of
- musicians and a mathematician from a family of mathematicians,
- nice scenery or enjoys a musical work. This human being can
- inside how something makes known itself in the musical work
- Title: Where/How/Spirit: Lecture XIII: The Riddles in Goethe's Faust - Exoteric
Matching lines:
- already searched as a seven-year-old boy when he took a music
- Title: Goethe's Secret Revelation: Lecture IV
Matching lines:
- world is met by the secret music of the universe:
- This must be the music from the worlds of the spiritual
- the ‘music of the spheres’ is not a poetic image, nor a
- grow, like an initiate, into that world from which this music
- resound with what we have called in the spiritual sense, the music
- Title: Where/How/Spirit: Lecture XIV: Riddles in Goethe's Faust - Esoteric
Matching lines:
- mysterious world music sounds to someone who enters the
- no metaphor what is said there about the music of the spheres,
- again in the spiritual world and through which the music of the
- Title: Where/How/Spirit: Lecture XV: Nietzsche in the Light of Spiritual Science
Matching lines:
- music the Greek expressed this harmony and created it in his
- The Birth of Tragedy out of the Spirit of Music,
- Title: Metaporphoses/Soul One: Lecture 5: Human Character
Matching lines:
- indeed something of an inner musician, who with a powerful stroke calls one
- understanding of music only if we are born with a musical ear. That is a
- Title: Metaporphoses/Soul One: Lecture 7: Human Egoism
Matching lines:
- eyes, if he can rightly rejoice in colours and forms, if musical tones give
- Title: Metamorphoses/Soul Two: Lecture 5: Sickness and Healing
Matching lines:
- deepen his musical appreciation, to awaken in his soul a profound musical
- life, it could not be developed if he did not have a musical ear, if the
- unmusical ear might have to go through experiences which would enable him to
- rise to a higher level of musical appreciation have to remain in the soul,
- Title: Metamorphoses/Soul Two: Lecture 6: Positive and Negative Man
Matching lines:
- are to hear harmonious musical sounds, we must be open also to discordant
- Title: Metamorphoses/Soul Two: Lecture 9: The Mission of Art
Matching lines:
- about symphonic music, Wagner says that something resounds from it as though
- so could Richard Wagner say that in the music of the Ninth Symphony he could
- Title: Answers to Big Questions: Lecture V: The Nature of Sleep
Matching lines:
- set to music afterward. This is a real fact. Now it will not be
- Title: Lecture Series: The Secrets of Sleep
Matching lines:
- courage, musical talent, etc. are directly handed down from
- the piano that he can express his musical ideas upon it, so
- architect, and a musician as a musician?
- human being. Take, for example, a musician. The spiritual
- Therefore the musician may in the next life become a
- Title: Lecture: Zarathustra
Matching lines:
- of Tragedy from the Spirit of Music,” he shows that the
- Title: Turning Points: Lecture 1: Zarathustra
Matching lines:
- The Birth of Tragedy from the Spirit of Music,
- Title: Lecture: Galileo, Giordano Bruno, and Goethe
Matching lines:
- at the age of seven, he took the music desk belonging to his
- Title: Turning Points: Lecture 4: Moses
Matching lines:
- considered to be seven in number, namely, music, grammar,
- Title: Turning Points: Lecture 5: Elijah
Matching lines:
- which the ecstatic priests, through the medium of music and
- under the frenzied stimulus of the dancing and the music. But
- Title: Human History: Lecture II: Death and Immortality
Matching lines:
- fools, musicians or other artists, so that one can find all
- Title: Human History: Lecture IV: From Paracelsus to Goethe
Matching lines:
- from his surroundings. He took a music stand, laid minerals of
- Title: Human History: Lecture VII: The Prophet Elijah
Matching lines:
- prophets who put themselves in particular states by music and
- Title: The Worldview of Herman Grimm in Relation to Spiritual Science
Matching lines:
- enthroned like an Olympian, a musical instrument in his hands,
- Title: Lecture: Leonardo da Vinci
Matching lines:
- because he was not only a distinguished musician, but perhaps one of
- the most distinguished musicians of his time. And it was due to his
- musical gifts that he was summoned to the Duke's court —
- an all-embracing artist, musician, philosopher, and mechanician. He
- Title: Leonardo's Spiritual Stature: Lecture
Matching lines:
- a painter. Leonardo was also an excellent musician, in fact
- perhaps one of the most distinguished musicians of his time.
- The duke was especially fond of his musical ability. But the
- musician, fully a philosopher, fully a technician. He united
- Title: Spiritual Science/Treasure for Life: Lecture III: Spiritual Science and Denomination
Matching lines:
- say facing a picture, a drama, a sculpture or a piece of music:
- Title: Eternal Human Soul: Lecture IV: Mind, Soul and Body of the Human Being
Matching lines:
- attention to the music only. You can grasp the whole experience
- the immediate contents. One hears music living in the soul with
- Title: Eternal Human Soul: Lecture V: Nature and Her Riddles in the Light of Spiritual Science
Matching lines:
- could say, look at the musical-aesthetic feeling, it comes
- musical-aesthetic feeling is that that which happens in the
- rhythm of the whole body the musical sensation, the aesthetic
- Title: Eternal Human Soul: Lecture IX: The Supersensible Human Being
Matching lines:
- musically. Still the fact that I must smile standing before the
- musical experience of the world. It is, as if you interrelate a
- human being from to proceed to such a musical experience of the
- Title: Freedom/Immortality/Social: Lecture III: What Spiritual Science Has to Say About the Eternal Aspect of the Human Soul and the Nature of Freedom
Matching lines:
- compared with the unmusical listening of single tones and the
- musical understanding of melodies or harmonies. If one hears a
- music, the single tone is to be related to other tones, and
- relates to another tone of the melody if a musical conception
- usual cognition becomes something like a musical overview of
- in time like inner music.
- What also appears is not only inner music, but also something
- that, for example, if any musical impression takes place in us,
- image that in this living in the musical image the aesthetic
- feeling, which is connected with a musical impression, is not a
- the sound picture with our ear is not yet the musical
- experience. It becomes musical experience only if the sound
- of the musical impression. The whole emotional life is
- Title: Freedom/Immortality/Social: Lecture IV: The Science of the Supersensible and the Moral-Social Ideas
Matching lines:
- as the single tone can never be music but only in the
- Title: Freedom/Immortality/Social: Lecture V: The Activities of the Human Soul Forces and Their Connection with Man's Eternal Being
Matching lines:
- spiritual experience to a musical experience, to a tone, a
- one experiences musically, one must be able to recognise the
- have described it. The human being experiences this musically,
- Title: Fruits/Anthroposophy: Lecture 8: The Social Question
Matching lines:
- Music. Tr. by V. and J. Compton-Burnett. Rudolf Steiner Press. Rudolf
- Title: for Renewal: Lecture IV: Anthroposophy and Pedagogy
Matching lines:
- account that music must appear early in education while this
- Title: of Renewal: Lecture VII: Anthroposophy and the Science of Speech
Matching lines:
- their bodily nature, and how speech absorbs the musical
- the musical element. Only in a later phase of human evolution
- the musical elements in speech split away from the logical,
- Title: Lecture: The Position of Anthroposophy among the Sciences
Matching lines:
- This was called Music; it was not our present music but a
- Grammar, Rhetoric and so on to Music. Thought was thereby released.
- granted; in later times by exercises that went from Grammar to Music
- Title: Tension Between East and West: Lecture 1: Natural Science
Matching lines:
- thinking to enter a kind of musical region, but one that is
- Title: Tension Between East and West: Lecture 3: East and West in History
Matching lines:
- geometry, astronomy and music. What mattered was
- Title: Lecture Series: What was the Purpose of the Goetheanum
Matching lines:
- as sculptor or musician or painter. Goethe knew that artistic
- Title: Greek/Germanic Mythology: Lecture IV - The Trojan War
Matching lines:
- developing. It is something which emanates from the musical element.
- For the fifth root-race music will be not merely art, but the means of
- in the sphere of music. What has to flow in is not astral, but it is
- Title: Richard Wagner: Lecture I
Matching lines:
- musically throughout Wagner's Rhinegold. Wagner's themes were
- Title: Richard Wagner: Lecture IV
Matching lines:
- music.
- and music — will reach the summit if it becomes permeated
- music, expressing Wagner's own Good Friday feelings, re-echoes in our ear
- Title: Temple Legend: Lecture 16: The Relationship of Occultism to the Theosophical Movement
Matching lines:
- example Pythagoras's teaching about the music of the spheres
- music of Pythagoras out to be quite a simple notion. Reason could
- Title: Temple Legend: Lecture 18: Freemasonry and Human Evolution II
Matching lines:
- developed the arts. Music, arts and sciences were cultivated by them.
- Title: Foundations of Esotericism: Lecture XXI
Matching lines:
- da Vinci and also built into the Gothic cathedrals. Then the musical
- Title: Esoteric Cosmology: Lecture VI: Yoga In East and West (Conclusion)
Matching lines:
- “The Sun makes music as of old
- Title: Esoteric Cosmology: Lecture XII: The Devachanic World (Continued)
Matching lines:
- the ‘Music of the Spheres.’ It is the living,
- Title: Esoteric Cosmology: Lecture XVIII: The Apocalypse
Matching lines:
- repulsion seemed to be a marvelous symphony of divine will; the music
- of the macrocosm sounded in his being. Thus the ‘Music of the
- Title: Reading Pictures of the Apocalypse: Appendix: Cosmogony
Matching lines:
- of the human microcosm. In this way the music of the spheres was a reality
- Title: Popular Occultism: Lecture 2: Man's Ascent into the Supersensible World
Matching lines:
- spoke of the music of the spheres; this was not a fantastic invention,
- Title: Popular Occultism: Lecture 7: Effects of the Law of Karma
Matching lines:
- were musicians, and they will trace this back to heredity. A great theosophist
- A great musician will need a line of ancestors that can give him a body
- with the best organ for his musical activities. This is the meaning contained
- Title: At the Gates: Lecture II: The Three Worlds
Matching lines:
- the world of colours comes the world of musical sounds which in a certain
- the music of the spheres. The heavenly bodies as they pursue their courses
- and we find that everything lives in music. Goethe, as an Initiate,
- Sun and the spheres speak in music:
- of the Sun, which really does sound forth to us in music if we are in
- Title: At the Gates: Lecture III: Life of the Soul in Kamaloka
Matching lines:
- music — but he lacks ears.
- Title: At the Gates: Lecture VI: The Upbringing of Children. Karma.
Matching lines:
- art awakens, particularly for the art of music, so closely associated
- with the vibrations of the etheric body. If any musical talent exists,
- Title: At the Gates: Lecture VII: Workings of the Law of Karma in Human Life
Matching lines:
- were twenty-eight highly gifted musicians in a period of 250 years. Again,
- told; but that is only partially true. In order to be a good musician
- you need more than a musical predisposition in your soul; you need also
- to be found in a family of musicians, and is passed on from one generation
- to the next. In a family, then, where a great deal of music is performed,
- you will find good musical ears, and so when a soul with a strongly
- developed musical talent is to be incarnated, it will naturally not
- choose a family with no interest in music — where it would languish
- Title: At the Gates: Lecture XII: Occult Development
Matching lines:
- of Devachan, the Music of the Spheres. Everything speaks forth its own
- Title: Festivals: Christmas: Lecture II: Signs and Symbols of the Christmas Festival
Matching lines:
- pupils knew: This is the Music of the Spheres. Then a faint light
- Title: Signs/Symbols: Signs and Symbols of the Christmas Festival
Matching lines:
- this was the music of the spheres. Then the room became dimly lit, the
- Title: Lecture: Parsifal
Matching lines:
- because the music for the drama proved to be an insoluble
- music.
- a musician, but as one who possesses deep knowledge and
- This medium is music. Wagner's music holds within it
- His music is of such a unique character that those who
- music. One does not need to understand it — not in
- benign and healthful effect of the music. And man's
- music.
- Title: Lecture: The Mysteries (Die Geheimnisse)
Matching lines:
- the universe, the music of the spheres. The spiritual world is
- Devachanic domain, the spiritual music. Only softly, softly,
- music of the spheres he first senses the triple harmony of the
- higher nature, and in becoming one with this music of the
- The floating music fills the heart with joy,
- Title: Theosophy/Rosicrucian: Lecture I: The New Form of Wisdom
Matching lines:
- incipient talent for music or some other art, but if he is not born
- Title: Theosophy/Rosicrucian: Lecture VII: The Technique of Karma
Matching lines:
- Within a period of 250 years, twenty-nine musicians were born in the
- Bach family, among them the great Bach. A good musician needs not only
- the inner musical faculty but also a well-formed physical ear, a
- hearing is necessary if a man is to become a musician, and these forms
- great musical faculties hundreds or thousands of years ago; he is
- musician. He must look around for a family which will provide the
- musical ear; without it his musical talents could not manifest, for
- Title: Theosophy and Rosicrucianism: Lecture I: Theosophy and Rosicrucianism
Matching lines:
- There is a modern musician, for instance, who even said that
- Title: Theosophy and Rosicrucianism: Lecture V: Metamorphoses of Our Earthly Experiences in the Spiritual World
Matching lines:
- of music at St. peters in Rome; according to an old tradition
- it was not allowed to write down this music, but Mozart wrote
- with such a great musical memory because in a former life he
- Title: Theosophy and Rosicrucianism: Lecture VI: Man's Descent into an Earthly Incarnation
Matching lines:
- musicians have come out of that family. Materialists will
- the case of a musician lot us observe the family of Bach.
- the result of his former incarnations, the greatest musical
- to become a musician, a well developed ear would be
- a family of musicians. So he is led towards a family where he
- inherited in the same way as, the musical ear.
- Title: Theosophy and Rosicrucianism: Lecture VIII: Supplementary Thoughts on the Law of Reincarnation and Karma
Matching lines:
- octave in music. Even as the octave repeats, as it were, the
- Title: Theosophy and Rosicrucianism: Lecture X: Further Stages of the Development of Our Earth
Matching lines:
- who describes this in music, was not clearly conscious of
- Title: Lecture I: Occult Signs and Symbols
Matching lines:
- instructions, then he learns to hear a real music that wells through
- with such music, and there are certain basic tones. You can get an
- musical harmony arises, it rests on the fact that different strings
- the physical world, receive musical impressions from the strings'
- Title: Lecture IV: Occult Signs and Symbols
Matching lines:
- There the music of the spheres can be heard, tones that swell and
- Title: The Influence of Spiritual Beings Upon Man: Lecture V
Matching lines:
- music from cosmic space gives rise to most manifold forms and figures,
- they listened to the cosmic music and arranged themselves in conformity
- cosmic music is albumen, protoplasm, the foundation of all living growth.
- of cosmic music. And thus the substances in the living were organized
- according to the world-music. The albuminous substance, protoplasm,
- to the music of the spheres.
- musical element in it, formed the materials into living substance. The
- under the wonder-working of world music. Then only was the whole impregnated
- Title: The Influence of Spiritual Beings Upon Man: Lecture XI
Matching lines:
- music as union with the astral bodies of spiritual beings. In
- of the spheres take the form of music for the intellectual soul.
- and that is the art of music, the phonetic art. A space through which
- streams musical tones is an opportunity for the freely-changing, self-determined
- when the astral body becomes aware of itself. In the creative musician
- as the art of music is the expressions, imprints, of what is experienced
- unconsciously in the sphere harmonies, and to be musically gifted means
- day condition to what whirs through it the whole night. To be unmusical
- man experiences in the musical art. And since music creates in our physical
- expresses them through his earthly music, so that in earthly music the
- their astral bodies again into the ocean waves of music, and so a bridge
- at such a stage what we call the art of music arises.
- so — in the five arts of architecture, sculpture, painting, music,
- music whose tones sounded before there were yet human ears to hear them.
- to be merely musician, merely dramatist, merely poet. All that we have
- us what it ought to become and must become. For the musical-poetic art
- Title: Apocalypse of John: Lecture I
Matching lines:
- to be added to the pictures what was known as the music of
- music. Now what may be compared with the impressions of the
- Title: Apocalypse of John: Lecture VIII
Matching lines:
- in Devachan he perceives it in inspiring music; and in this
- Title: Apocalypse of John: Lecture X
Matching lines:
- music of the spheres, so that each single being stems like a
- musical form within that which had previously been perceived
- the tones in music progress from octave to octave, so does
- Title: Reading Pictures of the Apocalypse: Part 1: Lecture Two
Matching lines:
- the music of the spheres. What had merely been seen earlier began to be
- heard; it was a pure, spiritual music. External music is only a shadow-like
- Title: Reading Pictures of the Apocalypse: Part 1: Lecture Three
Matching lines:
- with the “sound forms” of a sublime musical composition,
- The spirit of these vibrations of the music flows through our souls.
- we have the music of the spheres. If a physicist would record in numbers
- from the seven musical intervals: the unison interval, major second,
- Title: Reading Pictures of the Apocalypse: Part 1: Lecture Four
Matching lines:
- with the so-called music of the spheres, which constitutes the inner being
- as “the music of the spheres.” The music of the spheres finds
- Title: Reading Pictures of the Apocalypse: Part 2: Lecture Eleven
Matching lines:
- 18:22a And the voice of harpers, and musicians, and of pipers, and trumpeters, shall be heard no more at all in thee; \
- Title: Universe/Earth/Man: Lecture VIII: Mans connection with the various planetary bodies
Matching lines:
- cosmic music pervade his astral body. The astral body is then immersed
- in true spiritual existence, and from the music of the spheres it
- at night within the music of the spheres, and through the tones
- flower, you would perceive them as spiritual music the music of
- plants is heard the sun-tones which re-echo into space the music of
- Title: Universe/Earth/Man: Lecture XI: The Reversing of Egyptian Remembrance by way of Arabism.
Matching lines:
- mathematics to him; it gave him the musical secrets of the world in
- Title: Egyptian Myths: Lecture 4: The Experiences of Initiation. The Mysteries of the Planets. The Descent of the Primeval Word.
Matching lines:
- upper Devachan he perceived through the music of the spheres and
- Title: Egyptian Myths: Lecture 7: Evolutionary Events in the Human Organism up to the Departure of the Moon. Osiris and Isis as Builders of the Upper Human Form.
Matching lines:
- his mind the mystery of Osiris-Apollo and the human musical
- Title: Astral World: Lecture III: The Law of the Astral Plane: Renunciation
Matching lines:
- spiritual music, the sphere-harmony from which there streams to us the
- to us through the sphere-music and a non-recognition is not possible.
- in the sphere-music, but must also develop in oneself the feeling of
- Title: Lecture: Regarding Higher Worlds
Matching lines:
- Here spiritual music can be perceived. The moment this happens,
- Title: The East in the Light of the West: Lecture VI
Matching lines:
- Spirit of Music’ on this very division of Greek spiritual life
- Title: The East in the Light of the West: Lecture VIII
Matching lines:
- filled the entire earth with the holy music of the spheres, that is
- Title: Wisdom of Man: III. Higher Senses, Inner Force Currents and Creative Laws in the Human Organism.
Matching lines:
- In music we distinguish between the single tone, the
- sound is to come forth. A musical tone is not a simple thing. A tone
- is a musical tone only by virtue of its harmonics
- music is the series of intervals into which a vibrating body (a
- Title: Christ Impulse: Lecture 1: The Sphere of the Bodhisattvas
Matching lines:
- his instruction, not in conceptions but through music! Music
- spiritual soul, becomes logical thinking. This music came forth from a
- mighty Being, who taught through music. You will think this strange,
- what proceeded from the impulses of a special kind of music, which was
- not the same as our music to-day. We thus go back to a time in Europe
- when there was what we might call an ancient musical
- into decadence, but when a music full of enchantment passed through
- (i.e., the Egyptian) there was a profound musical culture in
- particular way to the effects of music. These effects worked upon the
- works upon it through the eyes. Thus did music work on the physical
- comes from the same regions as the Light. Music the song
- the physical plane by means of music, and he taught in such a way that
- God of music. This figure of Apollo dates back, however, to that great
- the effects of the music, but he could not have aroused them in
- The effects of this music even then included what was to be found in
- power, through his music, of teaching the beings of the nether world.
- Title: Ascension/Pentecost II: WHITSUN: the Festival of the free Individuality
Matching lines:
- which proclaimed in the wondrous music of the spheres: You have
- Title: Manifestations of Karma: Lecture 6: The Relationships Between Karma and Accidents
Matching lines:
- again and again more or less renowned musicians born (there were more
- than twenty more or less renowned musicians in Bach's family). We
- musical talent brought over from a previous incarnation will be
- Suppose that someone has the opportunity of receiving many musical
- impressions in a life between birth and death, that these musical
- has not a musical ear. Other impressions which he receives in this
- the suitable organs. Thus if someone has received a great many musical
- impressions, and because of an unmusical ear, he was unable to
- transform them into musical capacities or enjoyment, this incapacity
- where he will inherit a musical ear. From this we shall now see that
- incarnation long for a musical ear, will strive to come into this
- musical ear or a similar gift in a particular incarnation. by
- to us as though the musical sense were within him, a quality of his
- before his birth, we shall find that the musical ear for which he had
- Before his birth or conception the musical ear was not within him.
- Title: Mission/Folk-Souls (1929): Lecture 5
Matching lines:
- the Music of the Spheres, of which the Pythagorean and other occult
- This music of the spheres is still there, only it is
- inaudible to the ordinary consciousness. The music of the spheres is
- Man, however, does not hear it. If to him the music of the spheres
- which has been received and absorbed, the music of the spheres sounds
- into the music of the spheres in its weaving through the universe.
- Title: Mission/Folk-Souls (1970): 5. Manifestation of the Hierarchies in the Elements of Nature.
Matching lines:
- perceives the Music of the Spheres of which the Pythagorean and other
- Music of the Spheres is still there, but it is inaudible to ordinary
- could hear the Music of the Spheres. It sounds forth both day and
- a reservoir of assimilated light, the Music of the Spheres sounds
- the Music of the Spheres operating throughout the Universe. That is
- Title: Gospel of Matthew: Lecture III
Matching lines:
- music of the spheres. The sphere-harmonies live and move
- forming his inner life as it is to-day, the music of the
- Title: Gospel/Matthew (1965): Lecture 12
Matching lines:
- the Music of the Spheres, that which is perceptible
- Title: Excursus Mark: Part III: Excursus: Lecture VI
Matching lines:
- nature of music permeates our astral body; and finds expression
- can be illustrated in a trivial manner. We are permeated by music and
- sphere when from musical sound it becomes the spoken human word, so
- Title: Background/Mark: Lecture Eight: Laws of Rhythm in the Domain of Soul-and-Spirit.
Matching lines:
- produced. Something akin to music pervades the astral body
- so to speak, permeated with music and give expression to this
- that man is a spiritual being. Just as a musical tone rises
- Title: On the Mystery Plays: Lecture II: On the Rosicrucian Mystery, The Portal of Initiation
Matching lines:
- (As the curtain falls slowly, the music
- Those last tones of music, composed by our dear friend,
- Arenson, [Adolf Arenson (1855-1936) composed the music for the
- Sivers, accompanied at the beginning and end by the music of
- Title: Lecture: Yuletide and the Christmas Festival
Matching lines:
- unrestrained dancing and music. Admittedly there was not yet
- Title: Occult History: Lecture 3
Matching lines:
- worlds; that is to say, to regard what is clothed in musical tones,
- form of musical tones, the impetus towards the spiritual world; who
- purely formal music which Richard Wagner wanted to surmount, was vigorously
- work an music produced in Vienna by Eduard Hanslick, the author of the
- (“On the Beautiful in Music.”).
- make music in the way Richard Wagner makes it; that is not music at
- all, for music there sets out with the intention of pointing to something
- that lies outside music, to something super-sensible. Music is an “arabesque
- In other words, music is an arabesque-like interweaving of tones, and
- the musical-aesthetic enjoyment of it may consist in purely human delight
- says that Richard Wagner is no musician, that he simply does not understand
- the essence of the musical, that the essence of music lies simply in
- one can say: Richard Wagner is no musician. But then one would have
- reconciling ourselves through the fact that music, as Hanslick understands
- Title: Lecture: Mendelssohn: Overture of the Hebrides
Matching lines:
- music which is like thunder within this mighty temple. Dropping water
- beneath, making melodious magical music.
- which mirrored their own music's inner depths and was itself
- Title: Wonders of the World: Lecture 1
Matching lines:
- previous years has composed the music for all three plays. I leave it
- the musical compositions of our dear friend Arenson. Further I feel
- Title: Wonders of the World: Lecture 1
Matching lines:
- previous years has composed the music for all three plays. I leave it
- the musical compositions of our dear friend Arenson. Further I feel
- Title: Esoteric Christianity: Jeshu ben Pandira - Lecture 1
Matching lines:
- On the other hand, art, music, painting and so on, lead man into the
- Title: Jeshu ben Pandira: Lecture I
Matching lines:
- Title: World of the Senses and World of the Spirit: Lecture I
Matching lines:
- the instruments of music in comparison with the marvellous structure
- the human larynx, which is, in truth, like the ear, a musical
- Title: World of the Senses and World of the Spirit: Lecture II
Matching lines:
- one-sided way in the world of sound; he described music as
- Title: World of the Senses and World of the Spirit: Lecture IV
Matching lines:
- music. You should really hear Inspirations. And what you see
- Title: World of the Senses and World of the Spirit: Lecture VI
Matching lines:
- hear earthly music with our ear, so in ancient times did world music,
- the music of the spheres, flow into man. And as to-day we men clothe
- clothe itself in the music of the spheres — that Word of the
- the word, there flowed from the spiritual world a heavenly music, the
- music of the spheres, just as now into our hearing flows the human
- word and the earthly music, and within the music of the spheres was
- words and the divine music bring forth forms.
- most wonderful of all the forms created by Divine music. We may
- Title: Reincarnation and Karma: Lecture I
Matching lines:
- hearing, so that in his next incarnation he became a great musician.
- sensitiveness for music.
- Title: Lecture 4: Spiritual Beings in the Heavenly Bodies and in the Kingdoms of Nature
Matching lines:
- something like spiritual tone, the Music of the Spheres. It is like
- Title: Life Between ... IV: Recent Results of Occult Investigation Into Life
Matching lines:
- understood as the harmony of the spheres, a kind of spiritual music.
- sounding together produces the tones of the music of the spheres.
- music would change into choral music. Jupiter as orchestral music
- would change into choral music. It becomes increasingly tone, filled
- musicians of more recent times, in a Beethoven, a Wagner and
- Title: Life Between ... IX: Life After Death
Matching lines:
- musical gifts are in the hereditary stream unless he had acquired in
- to be reborn in a musical body. For only the most primitive
- predispositions can be found in the hereditary stream. A good musical
- Title: Between Death and Rebirth: Lecture Three
Matching lines:
- musician. He promised the girl that he would compose the most
- beautiful piece of music if she would let him share her wealth. But
- the sense of sight, the musician the sense of hearing, the apothecary
- Title: Lecture: Reflections of Consciousness, Super-consciousness and Sub-consciousness
Matching lines:
- not suffice! In the case of music, few people will admit that
- case of music — and in the case of poetry they will
- with an estimation of music and expect a certain standard
- from those who wish to have an opinion on music — we
- Title: Psychoanalysis: Lecture III:
Matching lines:
- is accomplished by mere exhaling! In music it would not be
- Title: Mysteries of the East: Lecture 3
Matching lines:
- be designated as The resounding through all space of the Music
- Sphere-music with the creative cosmic Word the Word which
- Title: Effects of Occult Development: Lecture III
Matching lines:
- the music of the spheres which still rang out, in a certain
- sounds of the sphere-music, which, although weak as compared to
- always immersed in music. This music on the ancient Moon was
- waves of music still permeated the human organisation on the
- all the music around him, adapted to the whole musical
- the outer sphere-music might be imitated in corresponding inner
- of hearing the music of the spheres; he has emancipated himself
- from it, and can only catch the reflection of the sphere-music
- in the music of the present day, which, however, can, in
- it were drilled into us, we feel something like a musical
- Title: Occult Significance of the Bhagavad Gita: Lecture 4 of 9
Matching lines:
- weaving life of sound, the music of the spheres. Still further
- Title: Occult Significance of the Bhagavad Gita: Lecture 6 of 9
Matching lines:
- mighty Krishna will be like wonderful music echoing and re-echoing in
- Title: Secrets/Threshold: Lecture VI
Matching lines:
- or architecture, sculpture, painting, music and poetry. Other arts
- On the other hand, we find that music and poetry are two
- rest of the world, the experience of music and poetry, too, belongs
- one notices this less in music, here too things lead to
- music and poetry, yet it must also be said: as soon as we have to do
- of Lucifer, the ahrimanic influence can work very strongly on music,
- so that we can find music with more of Ahriman than of Lucifer.
- architecture and sculpture and what is luciferic in poetry and music
- this plane even if we don't find music luciferic and architecture
- Title: On the Fifth Gospel: Lecture IX
Matching lines:
- musical and dramatic form. I do not propose to enter the
- Title: Christ and the Spiritual World: Lecture Three
Matching lines:
- the art of music, is Apollo. Why is this? Because through the power
- of song and string-music he brings thinking, feeling and willing into
- and a weak echo of it could be heard in the musical art cultivated by
- of music was a reflection of that happening, especially the
- Apollonian art which flowed from the sound of strings. The music
- music that sounds from the strings of Apollo — to this music
- the Greeks ascribed the musical effects which bring harmony into the
- soul. And persons who have no inclination for Apollo's music,
- Title: Lecture: Newborn Might and Strength Everlasting
Matching lines:
- coffins. At a greater distance, some people are listening to music. Behind
- listening to the music. Between them and a mountain that is emitting
- Title: Nature of Man: Lecture 1: Four Spheres of the Inner Life
Matching lines:
- us. It may be that when we hear a piece of music or see a painting we
- Title: Presence of the Dead: Lecture Seven: Robert Hamerling: Poet and Thinker
Matching lines:
- with a young musician in Vienna who was a great friend of
- occasion, the young musician once again wanted to quote Hamerling as
- young musician.
- music, destruction of life, the thunder of cannons, and quarreling
- Title: On the Meaning of Life: Lecture 2
Matching lines:
- Music of the Spheres. When we work thus in harmony with
- Title: Christ and the Human Soul: Lecture Four
Matching lines:
- procedure in the old Mysteries were the tones of the Sphere-Music and
- speak of the Music of the Spheres.
- Luciferic temptation — from the region of the Music of the
- spirit. With his soul he really belongs to the region of the Music of
- permeate the radiations he gives out with the essences of the Music
- — we cannot hear directly the Music of the Spheres or have
- that which would otherwise come to us from the Music of the Spheres
- of the Music of the Spheres. He had gone through the process whereby
- the Music of the Spheres as did Pythagoras, but we can speak of it in
- speak of the Music of the Spheres and of the Cosmic Life only when he
- the Christ within him has lived in the Music of the Spheres and in
- Title: Christ/Human Soul: Lecture IV:
Matching lines:
- old Mysteries were the tones of the Sphere-Music and the Cosmic Life,
- in advance. Hence it is that the old philosophers speak of the Music of
- the region of the Music of the Spheres — from the region of
- region of the Music of the Spheres, and to the region of the Word
- rayed out from him, with the Music of the Spheres, and the Cosmic Life.
- bodies, we cannot hear directly the Music of the Spheres, nor have
- that which otherwise comes to us from the Music of the Spheres and the
- cosmic life. Pythagoras of old spoke of the Music of the Spheres.
- Mystery of Golgotha, man cannot speak of the Music of the Spheres as
- can speak in another way of the Music of the Spheres. As an initiate he
- earth can speak of the Music of the Spheres and of the cosmic life only
- me,’ for That is What has lived in the Sphere-Music, and in the
- Title: Esoteric Development: Lecture X: The Three Decisions on the Path of Imaginative Cognition
Matching lines:
- and also in the light; they also have their life-element in the music
- Title: Destinies of Individuals and Nations: Lecture 8: Three Decisions on the Path to Imaginative Perception
Matching lines:
- sphere of life also lies in the music of the spheres our
- Title: Destinies of Individuals and Nations: Lecture 12: The Group Sculptured for the Building in Dornach
Matching lines:
- try and achieve a space where each musical sound can be
- in an inward direction and from there into the music of
- Title: Forming of Destiny: Lecture 4: The Connection Between the Spiritual and the Physical Worlds, and How They Are Experienced After Death
Matching lines:
- is the same when they hear a symphony, or music of that sort.
- Title: Lecture: Christ In Relation To Lucifer and Ahriman
Matching lines:
- sounds into the music of the spheres: there is more in the world than
- forth as part of the music of the spheres through ether bodies that
- Title: Mystery of Death: Lecture XI: Christ's Relationship to Lucifer and Ahriman
Matching lines:
- will live for ever sending these tones to the music of the
- only with physical eyes. Spiritual truth sounds into the music
- Title: Mystery of Death: Lecture XII: Spiritual Science as an Attitude
Matching lines:
- being lives in the music of the spheres inside, moves through
- the space, through the waves of the music of the spheres, and
- Title: Problem of Death: Lecture III
Matching lines:
- musician, a painter, a poet, says: ‘Since I have to
- Title: Lecture Series: 'Heaven and Earth will pass away but my words will not pass away'
Matching lines:
- within a Being, but resound out into the universe as the music of the
- Title: Tree of Life/Knowledge: Lecture III: The Power of Thought
Matching lines:
- (diagram (b)) is a musical one; of the old world (a) is a plastic
- one. The fundamental key of the new age is truly musical, the world
- will become more and more musical. And to know how man is rightly
- means to know that we must strive towards a musical element, that we
- towards a musical one.
- welded together plastically in the one figure we make musical,
- bring plastic forms into musical movement. That is its fundamental
- Title: Chance/Necessity/Providence: Lecture 7: The Physical Body Binds Us to the Physical World
Matching lines:
- defective ear, he won't be able to become a musician. But physical defects
- sensitive musical ear, but with no opportunity to get a musical education.
- In such a case his musical ear would go undeveloped. One cannot, of
- course, be musically educated if one lacks a musical ear, but external
- Title: Lecture: Perceiving and Remembering
Matching lines:
- chemical-ether [by which the music of the spheres is communicated]
- Title: Things Past and Present: Lecture VII: Man's Four Members
Matching lines:
- comes to consciousness in song or music comes out of the
- Title: Things Past and Present: Lecture IX: Celtic Symbols and Cult, Jesuit State in Paraguay
Matching lines:
- beautiful music and mixed all sorts of things into this music
- music in order that one could produce a certain type of cult
- of the cult. They had musical stimulations in the smallest
- village square and listened to music. Either the picture of
- Guaranies learned to produce muskets and canons, also musical
- brain with it. Through the musical and other cult handlings,
- Title: Things Past and Present: Lecture X
Matching lines:
- perceive the sounds of the Music of the Spheres on the Moon,
- the echoing and waving of the Music of the Spheres. You had
- imagine that all the Music which was weaving through the
- Music of the Spheres is silent. Our larynx has developed
- the Moon Sphere Music and our brain is now enclosed in a
- Title: Toward Imagination: Lecture 1: The Immortality of the I
Matching lines:
- Of course, under such conditions no music
- could be created; but Bahr excluded music. Neither could there be architecture.
- Music and architecture can therefore never be purely impressionist.
- Title: Toward Imagination: Lecture 2: Blood and Nerves
Matching lines:
- music merely a means to improve his concentration and was not really
- Saturdays he did not want any music because then he was waiting for
- them to piano music. He loved these detective novels, the kind of trashy
- Title: Toward Imagination: Lecture 3: The Twelve Human Senses
Matching lines:
- while creating music. It is not the fragrance that rises up out of memory,
- — sober, practical, unsentimental, lacking any musical or
- Title: Toward Imagination: Lecture 4: The Human Organism Through the Incarnations
Matching lines:
- musical talents, least of all in the skull of Beethoven. He underscored
- be found in these skulls that would indicate musical talents.
- were indeed musicians in the incarnation where the anatomist found these
- skulls. However, they may not have been musicians in their preceding
- that all three men had been musicians, and yet their skulls had nothing
- previous incarnations and became musicians only in the incarnation where
- they had the skulls Langer examined. Their musical disposition expressed
- Title: Toward Imagination: Lecture 6: The Feeling For Truth
Matching lines:
- ”Followed by music on the harmonium
- Followed by music on the harmonium
- Title: Toward Imagination: Lecture 7: Toward Imagination
Matching lines:
- As you know, some people are musical and others
- musical and those who are not. In terms of the soul a musical person
- is quite different from an unmusical one. I do not mean this as a criticism
- of unmusical people; it is simply a statement of fact. Those who look
- statement, “The man that hath no music in himself ... Is fit for
- conclusion, there is a certain difference in the souls of musical and
- unmusical persons.
- Now, you may want to know why there are musical
- and unmusical people. If you look for an answer in psychology, which
- were to explain why one person is musical and another is not, if it
- people are musical in this life who empathized with everything and moved
- the musical soul developed. On the other hand, people who were dulled
- not become musical. Nevertheless, they may have other excellent qualities,
- Still, people are unmusical because in the previous incarnation they
- the soul in a preceding incarnation and musicality in a later one, as
- who is musical and describe what he or she was like in the previous
- as though we were trying to become totally unmusical in the next incarnation.
- Title: Riddle of Humanity: Lecture Seven
Matching lines:
- of today's hearing. If what we hear today as music had been played on
- Title: Riddle of Humanity: Lecture Eight
Matching lines:
- some changes, particularly in relation to music. Historians do not
- On the physical plane, a musical ear listens with deep satisfaction to
- musical ear might well be repelled by the thought of going backwards,
- for music is one of the most profound things we have on the physical
- at its height. Those who are not so musical will not feel this
- conflict so readily. But a musical person whose thinking is
- energy to becoming inwardly acquainted with German music than I have
- account of music as being a unique objectification of the world of the
- beings, the revelations of the truly productive musician bring him
- who claim to understand this metaphysical language of music experience
- possessor, then you must say that German music has been my religion in
- Yes, today German music is still my religion in the sense that even if
- music would still be there, and the world that can produce such a
- The music of the B Minor Mass, of the statue's visit in Don
- music of Tristan, The Ring, Parsifal this
- music cannot be proven false, for it is a reality, a wellspring of
- received from that source from music.
- who has Ehrenfels' spiritual kinship with the music of our
- modern music must relate to the habits of materialistic thinking and
- someone who is not such a musical believer. For if we are to gradually
- Title: Riddle of Humanity: Lecture Nine
Matching lines:
- sweats when he listens to a piece of music has gone too far; that is
- Title: Lecture: The Sense-Organs and Aesthetic Experience
Matching lines:
- to a piece of music develops the fourth life-process, secretion, so
- Title: Karma of Vocation: Lecture II
Matching lines:
- finds in his father's collections and place them on a music
- Title: Karma of of the Individual and the Collective Life
Matching lines:
- collection, and lay them on a music-stand and make an
- Title: Karma of Vocation: Lecture IV
Matching lines:
- after-dinner coffee and family music, when contemptuous remarks
- Title: Karma of Vocation: Lecture VIII
Matching lines:
- well-acquainted with music, played the lute and other string
- certain music teacher who, at that time in the sixteenth
- wrote a book on music, but this did not please his teacher and
- “ancient and rusty views” of his music teacher. Then he
- music, played the lute and other string instruments well, was
- occupied with geometry, and at first taught his son music
- played a great deal of music with his ten musical sons. No one
- posters, movies, popular music — everything makes us barren,
- Title: Karma of Untruthfulness I: Lecture Three
Matching lines:
- pragmatic, unsentimental, totally unmusical, inartistic, a robust and
- Title: Karma of Untruthfulness I: Lecture Six
Matching lines:
- beginning of each year. Musical instruments differ somewhat from
- expressing in music what the human soul feels in its various moods.
- Title: Karma of Untruthfulness II: Lecture Fourteen
Matching lines:
- faithfully the marked changes of tone. They had that musical facility
- plentiful in the race which is said to be the most musical in the
- Title: Lecture: Mans Position in the Cosmic Whole, the Platonic World-Year
Matching lines:
- warmth, there the Italian Folk-Soul has TONES, namely, the MUSIC OF
- Title: Cosmic/Human Metamorphosis: Lecture 5. The Human soul and the Universe (part 2)
Matching lines:
- piece of classical music which sends him to sleep at once, if he is
- Title: Building Stones: Lecture Seven
Matching lines:
- astronomy, arithmetic and music. The achievements of Plato,
- Title: Building Stones: Lecture Nine
Matching lines:
- everywhere; for the music of tomorrow all ears are pricked.
- Title: Building Stones: Lecture Ten
Matching lines:
- experience first of all a musical impression which is
- rightly says, he experiences them first as musical
- Logos as music of the spheres fraught with meaning, and the
- visible world as the expression of the music of the spheres,
- just as the visible vibration of the strings of a musical
- the human form as a fusion of tones from the music of the
- Title: Aspects/Evolution: Lecture III
Matching lines:
- imagination and music of the spheres. In the third epoch
- Title: Aspects/Evolution: Lecture IV
Matching lines:
- A musically cultivated person will
- unity: the text, the music — which itself is highly
- Title: Karma of Materialism: Lecture 4
Matching lines:
- century; particularly in the sphere of aesthetic interpretation of music.
- Title: Historical Necessity: Lecture 5: The Members of Man's Being and the Periods of His Life
Matching lines:
- science knows that the soul music of the spiritual world
- Title: Ancient Myths: Lecture VI
Matching lines:
- Middle Ages and modern times through poets and musicians a
- Title: Life Gifts: Lecture III: Thoughts about the Life Between Death and Rebirth
Matching lines:
- on, they begin to sound; the music of the spheres sounds
- tones: melodies, harmonies, courses of the music of the
- Title: Life Gifts: Lecture VI: Spiritual Science, the Practice of Life and the Destinies of Souls
Matching lines:
- lecture mentioned I also spoke of the art of music and of how
- musical experience affects the whole man in a
- remarkable way, that really whenever there is a musical
- thereby. Musical experiences create a glorious rhythm in
- Title: Life Gifts: Lecture VII: Whitsuntide Lecture
Matching lines:
- conceived as music, but as real music. You could not
- Title: Sound Outlook: Lecture II: The Building at Dornach
Matching lines:
- being who receives the music of the spheres, takes it in
- help from the individuality, the cosmos, the music of the
- Title: Lecture: The Work of the Angels In Mans Astral Body
Matching lines:
- music through the work wrought by the Angels in the astral bodies of
- Title: Lecture: Evil and the Future of Man
Matching lines:
- pulsating through music and poetry — anyone who experiences Art in a
- Title: Symptom 2 Reality: Lecture V: The Supersensible Element in the Study of History
Matching lines:
- the inner rhythms in music and poetryand the artists
- Title: Symptom 2 Reality: Lecture VI: Brief Reflections on the Publication of the New Edition of 'The Philosophy of Freedom'
Matching lines:
- introduction to the modern trends in music. In his youth
- Title: Spiritual-Scientific Consideration: Lecture 2: Esoteric Prelude to an Exoteric Consideration of the Social Question I
Matching lines:
- Men can naturally say: Now look, you perceive music; you
- music is much more complicated than that. It is like
- the musical-aesthetic experience. Even there, the
- Title: Social Basis For Primary and Secondary Education: Lecture III
Matching lines:
- After that there perhaps come music or singing, perhaps not that but
- Title: Mysteries of Light: Lecture IV: The Old Mysteries of Light, Space, and Earth
Matching lines:
- The Birth of Tragedy from the Spirit of Music,
- Title: Oswald Spengler: Lecture I: On Spengler's Decline of the West
Matching lines:
- musical scores out of which he can gain the experience in his
- own soul of the true piece of music.
- Title: Man: Hieroglyph: Lecture Seven
Matching lines:
- liver of a man of 50 or of 25, of a musician or of one who understands
- as much of music as a cow does of Sunday after regaling itself upon
- difference exists between the liver of a musician and that of a
- non-musician, for the liver is very closely connected with all that
- may be summed up as the musical conceptions that live and resound in
- first place, have to do with music. But the outer physical liver is,
- Title: The Moral as the Source of World-Creative Power
Matching lines:
- the Music of the Spheres, resounding from us into the cosmos. And we
- Title: Young Doctors Course: Bridge Lecture 2: The Moral as the Source of World-Creative Power
Matching lines:
- becomes part of the Music of the Spheres, resounding from us
- Title: Search for the New Isis: Lecture IV
Matching lines:
- experiences of a musician. He writes out of immediate experience in
- there was added to the inner problems of music, the outer problem —
- easily solved if the musical profession were organised. But we are
- still without any Music Chamber which could represent the common
- interests of all professional musicians; even individual groups of
- Musicians' Union which includes particularly the orchestra players,
- and the Union of Music Traders where there is a common basis because
- academic and nonacademic music teachers, of singing teachers in music
- executant musicians. Self-seeking interests and rivalry have put off
- Thus it has come about that in the world of music those at the head
- the justified demands of music. This does not concern music alone; it
- Musicians' Union even in purely economic and financial questions, we
- Title: East and West, and the Roman Church: Lecture I
Matching lines:
- tones, the purer and more liberating will be finally the music of
- Title: Materialism/Anthroposophy: Lecture VII
Matching lines:
- endeavoring to create as tragedy out of the spirit of music
- In the musical drama
- The Birth of Tragedy out of the Spirit of Music
- Title: Lecture Series: World Downfall and Resurrection
Matching lines:
- books as musical scores out of which he can gain the
- music.
- Title: Materialism/Anthroposophy: Lecture XVII
Matching lines:
- arithmetic, and music. In contemplating the heavenly element
- to the laws of music — music here conceived not merely
- as musical tone elements but as something that lives in
- geometry, astrology, arithmetic, and music. The Greeks lost
- astrology, arithmetic, and music, with the living soul
- concept of music.
- music continued to exist, but only as ancient legacies turned
- arithmetic, and music. These then were the seven liberal
- dialectics, geometry, astrology, arithmetic, and music. The
- geometry, astrology, and music had turned into sciences.
- Title: Therapeutic Insights: Lecture V
Matching lines:
- being begins to perceive the music of the spheres. The music
- Title: Man as a Being: Lecture 1
Matching lines:
- distinction between the sense that has to do with musical and vocal
- apprehension which lies behind the experience of music is something
- or to a musical sound. What you then experience in yourselves is of no
- Title: Lecture: Goethe and the Evolution of Consciousness
Matching lines:
- a music-stand and laying upon it specimens of minerals from his
- Title: Lecture: Evil and the Power of Thought
Matching lines:
- have this harp-music in between the passages of his talk. Here and
- with some pleasant music. One needs only to perceive the distance
- Title: Cosmosophy 1: Lecture I
Matching lines:
- instrument, for he always needed to have this harp-music in
- by a younger person with some pleasant music. The disparity
- Title: Lecture Series: Fundamental Impulses in the Mysteries of Ancient and Modern Times
Matching lines:
- music. But the difference between the two soul-constitutions
- Title: Lecture: The Alphabet
Matching lines:
- the music of the spheres, which Man absorbed between death and new
- In the etheric body and in the physical body there echoes the music of
- are cosmic music, they are consonants. And the forming of consonants
- music of the spheres occurs through the movements of the planets in
- He gave utterance to what he had then experienced of the music of the
- geometry, music and astronomy. In this ascent through the various
- the feeling that the geometrical, thought concretely, was the music of
- music today — the mathematical physicist reckons the pitch of a note,
- who is musical is obliged to forget his music and enter the sphere of
- the abstract if, being a keen musician, he has not already run away
- — to press on from the musical into the sphere of acoustics, but one
- does not gain much in the way of musical experience. That someone
- musical notes, that is to say, if he rises from the 5th to the 6th
- grade, and makes geometry sound musically, all this, as far as I know,
- to the sixth part of what was to be learned — from geometry to music.
- Title: Old/New Methods: Lecture Ten
Matching lines:
- ‘The sun makes music as of old, Amid the rival spheres of heaven.’
- sense for sculpture and music. In a work of poetry such as the drama of
- Title: Old/New Methods: Lecture Twelve
Matching lines:
- Prologue — ‘The sun makes music as of old, amid the rival
- Title: Lecture: The Three Stages of Sleep
Matching lines:
- music. Thus cosmic music does not reveal itself only as melody
- Title: Human Soul/Evolution: Lecture II: The True Nature of Memory - 1
Matching lines:
- more rhythmically, more musically as soon as the lung becomes
- Title: Lecture: Modern and Ancient Spiritual Exercises
Matching lines:
- merely logical connection between thoughts into something of a musical
- Title: Human Soul/Evolution: Lecture VII: Modern and Ancient Spiritual Exercises
Matching lines:
- thoughts into something of a musical nature. Meditation today
- Title: Human Questions and Cosmic Answers: Lecture II
Matching lines:
- astronomy, to the music of the spheres, to everything embraced in
- Title: Mystery Trinity: Part 1, Lecture 1
Matching lines:
- geometria, the lady musica, and finally the heavenly lady
- Title: Mystery Trinity: Part 1, Lecture 3
Matching lines:
- dialectic, arithmetic, geometry, music, and astrology gradually
- The Birth of Tragedy out of the Spirit of Music,
- [Friedrich Wilhelm Nietzsche (1844–1900), German philosopher and poet. Professor of classical philology, Basel (1869–79). Known for denouncing religion, and for espousing the perfectibility of human beings through forcible self-assertion. Published The Birth of Tragedy out of the Spirit of MusicNote 7]
- Title: Mans Life on Earth: Lecture III
Matching lines:
- region below the heart, mingles its music and its light with the
- Title: Planetary Spheres: Lecture III
Matching lines:
- region below the heart, mingles its music and its light with the
- Title: Younger Generation: Lecture II
Matching lines:
- Grammar, Dialectic, Rhetoric, Arithmetic, Geometry, Astrology, Music
- Title: Younger Generation: Lecture IV
Matching lines:
- him was in Richard Wagner's music. As you know, Wagner was a
- Title: Younger Generation: Lecture IX
Matching lines:
- astronomy and music, to music as it was conceived of at that time,
- astronomy and music as much of the artistic as was possible, having
- rhetoric, arithmetic, geometry, astronomy and music, grew out of an
- Title: Younger Generation: Lecture X
Matching lines:
- music-stand on which he set out minerals, placing on top a little
- Title: Spiritual Relations in the Configuration of the Human Organism: Lecture II
Matching lines:
- and a completely different music of civilization comes about.
- Title: Lecture: The Ear
Matching lines:
- worlds? I have often spoken of it. The music of the spheres is a
- into the sounds as of a heavenly speech and music.
- music. And the harmonious and dissonant sounds become the Words,
- meaning. Musical experience is already a foretaste, if I may so
- through music, the spatial element scarcely plays a part. There is at
- Title: Man/World of Stars: Lecture VI: Spiritualization of Knowledge of Space. The Mission of Michael
Matching lines:
- discomfort. He still attaches value to it in music; but even
- Title: Lecture: The Spiritual Communion of Mankind
Matching lines:
- what he embodies in his materials as a painter, sculptor, or musician
- Title: Spiritual Communion: Lecture I: Midsummer and Midwinter Mysteries
Matching lines:
- his materials as a painter, sculptor or musician — that
- Title: Lecture: The Relation of the Movement for Religious Renewal to the Anthroposophical Movement
Matching lines:
- and word in the arts of music and speech. But this second stage was
- Title: Spiritual Communion: Lecture IV: The Relation of the Movement for Religious Renewal to the Anthroposophical Movement
Matching lines:
- tone and word in the arts of music and speech. But this second
- Title: Lecture: Self Knowledge and the Christ Experience
Matching lines:
- richly diverse in form and colour, and sounding with inner music — this
- glowing colour and radiance and musical tones, let him down when he made
- Title: Driving Force: Lecture III
Matching lines:
- the Archai. Experience of divine worlds through music during
- third, or even of a fifth. Their musical experience began
- were to live only in the music of sevenths, if we were to
- would not perceive music as something taking place within us
- bodies the moment musical perception began. We would live
- For them a musical experience was a direct religious
- ‘I am making music’ was senseless to them. But it
- meant something when they said: ‘I live in the music
- weakened form this musical experience was still present in
- major and minor, made its appearance in music, that music as
- musical experience he was no longer outside himself. In the
- himself in the experience of music. In the age of the third,
- himself when he experiences music. He embraces music with his
- body. He interweaves musical and bodily nature. That is why
- of the third, with the entry into music of the major and
- minor moods, musical experience links itself with the
- as the Lemurian age. At that time man's perception of music was
- Lemurian age there could be no musical experience in
- say that through this particular musical perception in
- jubilation, the cosmic music of the Gods rejoicing in their
- Maximum number of matches per file exceeded.
- Title: Driving Force: Lecture VII
Matching lines:
- certain musical talents. They attached great importance to
- divining the musical gifts of an individual from his facial
- Title: The Cycle of the Year: Lecture I
Matching lines:
- ancient Mysteries, Michael's activity, morality, and the musical-poetic
- Title: The Cycle of the Year: Lecture II
Matching lines:
- ancient Mysteries, Michael's activity, morality, and the musical-poetic
- Title: The Cycle of the Year: Lecture III
Matching lines:
- ancient Mysteries, Michael's activity, morality, and the musical-poetic
- Title: The Cycle of the Year: Lecture IV
Matching lines:
- ancient Mysteries, Michael's activity, morality, and the musical-poetic
- participants were led to unfold a musical-poetic element in round
- musical recitative accompanied by primitive instruments. Such a
- festival was completely immersed in the musical-poetic element. What
- it were, in the form of music, in song and dance.
- way of music and song during those intense and widespread folk
- music and poetry have come to be since then is far removed from the
- simple, primitive, elemental form of music and poetry which was
- with the whole universe. Even someone who is musically inspired, who
- sets the art of music high above the commonplace, even such a man,
- to those festivals: not only the dancing, the music, the song, but
- form of music and poetry.
- intimate musical and poetic ceremonies. Thus these
- You see this whole festival was immersed in the musical, in the
- musical-poetic. I might say that in the simple settlements of very
- plunged into this musical-poetic element. The people believed that
- of dancing, music and poetry, in order to establish their
- time everything was steeped in the musical-poetic, in the dance
- in music and dance. During that time these ancient people, who in a
- the time of the St. John's festival for dancing and music, so toward
- Maximum number of matches per file exceeded.
- Title: The Cycle of the Year: Lecture V
Matching lines:
- ancient Mysteries, Michael's activity, morality, and the musical-poetic
- as answer to the performances of music, poetry and dancing
- Title: Lecture: The Cosmic Word and Individual Man
Matching lines:
- his organism — continues during sleep itself as a music,
- musical activity continues. And the Ego and astral body, which are
- this — from what they have left behind, the resounding music in
- the etheric body. And while it resounds in music, the etheric body is
- life of the cosmos this particular music, and radiance, and flooding
- phosphorescent glow, this resounding music — it is these that
- been listening again to the same music; as if the whole concert had
- music, which resounds in an individualised form in the human etheric
- music into the recently-experienced earthly sounds. They are in a
- sense the clothing assumed by the cosmic music at the moment of
- cannot perceive the cosmic music, it is clothed in the sounds taken
- gentle phosphorescent glow, this living music, are an outer revelation
- music, which comes from the region of the organs of hearing; the
- living music, the glowing light, the streaming warmth, intermingled
- sounding, this living music, this gently phosphorescent glow, these
- more widely, but growing fainter and fainter, and the music growing
- music; it can no more be perceived by the being of soul and spirit,
- Title: Evolution of Consciousness: Lecture IX: Experiences between Death and Rebirth
Matching lines:
- universe, declaring itself through the music of the spheres and the
- Title: Four Seasons/Archangels: Lecture IV: The St. John Imagination
Matching lines:
- to be transposed into powerful music, so that the cosmic Mystery, as
- be given life by the musical tones that embody the poetic motif which
- expressed at St. John's-tide through appropriate musical instruments.
- Thus we should find, through these musical harmonies, our own inner
- forth. All this would have to be given voice in the music, so that in
- would have to sound forth in musical tones — tones which carry these
- Title: Four Seasons/Archangels: Lecture V: The Working Together of the Four Archangels
Matching lines:
- form into musical sound, universally resounding harmony.
- Title: Man/Symphony: Lecture VII
Matching lines:
- every bird — is for the sylphs something audible. Cosmic music
- sounding, a spiritual music which accompanies the ship.
- this sounding music, finding their dwelling-place in the moving
- Title: Supersensible Man: Lecture I
Matching lines:
- of this misty picture the Music of the Cosmos begins to form
- in the realm of Cosmic Music, for it is all rhythm and melody. If we
- before us Cosmic Music made perceptible in space, the Cosmic Music
- the Cosmic Music we learn how to draw these organs of secretion, and
- Something new arises out of the Cosmic Music. The tones begin to blend
- meaning in this Cosmic Music. The Cosmic Music changes into
- We go still further and ascend to the sphere of Cosmic Music
- Title: Supersensible Man: Lecture II
Matching lines:
- imposing in the Cosmic Music. It comes from what the souls of
- of it now that it resounds as Cosmic Music. This form of man
- changes to sounding music and finally to speech.
- moulding of the spirit is taken up and changed to music and to speech.
- that he spoke forth in the Cosmic Word becomes once again the Music of
- the Spheres, and out of the Music of the Spheres is born the plastic
- Title: Supersensible Man: Lecture IV
Matching lines:
- called living his way into the Cosmic Music, the Music of the
- whole Music of the Spheres sound to us from every direction of
- with us in memory brings a kind of discord into the Music of the
- Spheres. Yes, discord is introduced into the Music of the Spheres, by
- Earth into the Cosmic Music when man enters the Sun existence after
- into universal space. For man is now in the region where Cosmic Music
- Title: Mystery Centres: Lecture VI
Matching lines:
- wonderful collection of musical instruments, forming a mighty
- still find in them the molten metals of the musical instruments which
- metals those musical instruments which conjured into the flames those
- Title: Mystery Centres: Lecture VII: The Mysteries of Hibernia
Matching lines:
- covering the sun. Then came forth as if out of a musical-harmonic
- (the ceremony began with a musical-harmonic) the speech of the
- musical-harmonic resounded the voice of this priest-initiator. And
- Title: Moon-Birth and Sun-Birth. Necessity and Freedom. Stages of the Ancient Easter Initiation
Matching lines:
- In the second Degree he learned Music; he learned the Architecture,
- world as they are built with earthly architecture. Music is yonder, it
- is true, but that is spiritual melody. Whatever is earthly music has
- heavenly Music, but in the form in which man experiences it, it is
- the true sciences of Earth are Geometry, Architecture, Music and
- knowledge, we can study only Geometry, Mensuration, Music and
- Title: Esoteric Easter: Lecture II
Matching lines:
- stage he learned music and what was then architecture,
- architecture. There is music there, but it is
- spiritual melos. What we know as music is
- projected down into our air; it is a projection of heavenly music,
- geometry, architecture, music and surveying were the sciences that
- surveying, music and architecture can be studied. Not chemistry.
- Title: Easter Festival: Lecture II:
Matching lines:
- second stage, which consisted of learning the music,
- world with earthly architecture. Similarly, the music
- earthly music is merely its projection into the
- however, geometry, architecture, music, and surveying are
- music, and architecture. They are useless for the study of
- Title: Festival of Easter: Lecture 2
Matching lines:
- the second degree the pupil learnt Music, which at that time
- help of earthly architecture. Over there, there is music, but
- it is spiritual Melos. Earthly music is something projected
- into earthly air; it is a projection of heavenly music, but as
- knowledge; and that geometry, architecture, music, and the
- geometry, surveying, music, and architecture can be studied ...
- Title: Anthroposophy Introduction: Lecture IV: Meditation and Inspiration
Matching lines:
- your breath has become something palpably musical. You experience it as
- inner music; you feel as if inner music were weaving and surging through
- the astral man — is experienced as an inner musical element. In this
- you must direct your musical sense to hearing inwardly —
- i.e. you must attend with your inner, musical ear and not merely listen
- shapes of the fluid man and in that which permeates man as an inner music,
- of this inner music. It is built from out of the astral body —
- from out of this inner music; and for this reason it has, at a definite
- nerve-strands. All this together is a wonderful, musical structure that
- the brain. This music is actually per-formed, but it remains unconscious;
- the inner musical instrument that the instinctive, primeval wisdom still
- Title: Anthroposophy Introduction: Lecture V: Love, Intuition and the Human Ego
Matching lines:
- i.e. as an inner musical element, a whirling, weaving life, an inner
- activity and all one might describe as music inwardly sensed. But
- ‘imagination’ is weaving, and the astral ‘music of the
- that express themselves through these images — hear a kind of music
- of music. And, in addition, you have a surging organism of warmth,
- we hear the music of the spheres which sounds towards us or, we might
- Title: Anthroposophy Introduction: Lecture VI: Respiration, Warmth and the Ego
Matching lines:
- a man is able to feel, as it were, in an element of spiritual music,
- Title: Karmic Relationships, Volume I: Lecture I
Matching lines:
- After all, even to understand a piece of music or any other work of
- as a mere noise, if it is music; or if it is plastic art, you will
- Title: Karma: Lecture I
Matching lines:
- wish to comprehend a musical or any other work of art, that we
- nothing concerning them. Then the music passes us by as a
- Title: Karmic Relationships, Volume I: Lecture II
Matching lines:
- another man for that; one man for sculpture, another for in music:
- Title: Karma: Lecture II
Matching lines:
- sculpture, another for music; one has sympathy for blondes,
- Title: Karmic Relationships, Volume I: Lecture IV
Matching lines:
- In observation of the outer world, he is not exactly dull. Music, for
- pleasure. After all, it is a matter of indifference whether the music
- Title: Karma: Lecture IV
Matching lines:
- outer world, he is not exactly dull. Music, for instance, he
- after all, a matter of indifference to him whether the music is
- Title: Karmic Relationships, Volume I: Lecture V
Matching lines:
- for instance, who in our time take absolutely no interest in music —
- people to whom music is a matter of indifference — will
- Title: Karma: Lecture V
Matching lines:
- interest in music — people to whom music is a matter of
- Title: Karmic Relationships, Volume I: Lecture VII
Matching lines:
- music were generally written down in the early morning; as soon as he
- masterpiece of musical art. He was enchanted with the singer Milder;
- — it isn't real music at all; it's trash. As for Milder, she
- expression to the musical talent within him, if he had not found a
- becomes an exquisite musician, the pugnacity being transformed into
- subtle and delicate musical phantasy?
- Title: Karmic Relationships, Volume I: Lecture VIII
Matching lines:
- personality, one who had little opportunity of cultivating musical
- background of Arabism, so the essence of Schubert's music, especially
- themselves) that there is something spiritual in this music,
- Title: Karmic Relationships, Volume I: Lecture IX
Matching lines:
- the Spirit of Music while he was still quite young, inspired by
- the thought of music springing from Greek tragedy which had itself
- been born from music. Then, in the same strain, he wrote the four
- Title: Karmic Relationships, Volume I: Lecture X
Matching lines:
- musician must come again as a musician, a philosopher as a
- Title: Karmic Relationships, Volume I: Lecture XII
Matching lines:
- a musician, you know that you are dealing with a one-sided man. For
- Title: Karmic Relationships, Volume II: Lecture V
Matching lines:
- perceptive process, or experienced the musical element in these forms
- Title: Karmic Relationships, Volume II: Lecture VIII
Matching lines:
- enter into a kind of musical mood during the
- Title: Karmic Relationships, Volume III: Lecture VI: The School of Chartres
Matching lines:
- Astronomia, Musica. The pupils learned to know them as
- Title: Karmic Relationships, Volume IV: Lecture II
Matching lines:
- easily we are tempted, in the case of a musician, to think that at any
- rate in one former earthly life he was, if not a musician, an artist of
- Title: Karmic Relationships, Volume IV: Lecture V
Matching lines:
- Musica. Even in the reception of the Spiritual that was contained in the
- Title: Karmic Relationships, Volume IV: Lecture IX
Matching lines:
- Dialectic, Arithmetic, Geometry, Astronomy and Music. In their combined
- Title: Karmic Relationships, VI: Lecture VII
Matching lines:
- Arithmetica, Geometria, Astrologia or Astronomia, and Musica. These
- Title: Karmic Relationships, VI: Lecture VIII
Matching lines:
- domains of geometry, chemistry, physics, music, architecture, and the
- Title: First Class, Vol. I: Lesson 1
Matching lines:
- art in general and music. It wreaks its havoc in the schools
- Title: First Class, Vol. I: Lesson 7
Matching lines:
- as cosmic music. When we hear the human heart beating it seems
- world; then one experiences cosmic-life, the music of the
- Title: True/False Paths: Lecture Two: The Three Worlds and their Reflected Images
Matching lines:
- compose. He is a potential musician. He who experiences the
- Title: True/False Paths: Lecture Two: The Three Worlds and their Reflected Images
Matching lines:
- compose. He is a potential musician. He who experiences the
- Title: True/False Paths: Lecture Eleven: What is the Position in Respect of Spiritual Investigation and the Understanding of Spiritual Investigation?
Matching lines:
- centuries the impulse towards music has been growing and
- expanding. Therefore the plastic arts have assumed a musical
- character to a greater or lesser extent. Music, which includes also
- the musical element in the arts of speech, is destined to be the art
- Goetheanum at Dornach was conceived musically and for this
- also meet with little understanding because the element of music must
- music.
- give a musical expression of the Christ Impulse already existed. It
- so on. The Communion has also been portrayed symbolically. The music of
- Music is
- able to portray this Christ Impulse musically, in tones that are
- inwardly permeated with spirit. If music allows itself to be inspired
- of the major third by an inner enrichment of musical experience
- musically something of the inner being of man that reaches out into
- resolved in something which, to the musical ear, resembles a musical
- then we shall have evoked in this way the musical experience of the
- a possibility of giving a musical representation of the Incarnation,
- this musical configuration as pure music.
- musically.
- Impulse can be found in music. And the dissolution of the
- Maximum number of matches per file exceeded.
- Title: True/False Paths: Lecture Eleven: What is the Position in Respect of Spiritual Investigation and the Understanding of Spiritual Investigation?
Matching lines:
- centuries the impulse towards music has been growing and
- expanding. Therefore the plastic arts have assumed a musical
- character to a greater or lesser extent. Music, which includes also
- the musical element in the arts of speech, is destined to be the art
- Goetheanum at Dornach was conceived musically and for this
- also meet with little understanding because the element of music must
- music.
- give a musical expression of the Christ Impulse already existed. It
- so on. The Communion has also been portrayed symbolically. The music of
- Music is
- able to portray this Christ Impulse musically, in tones that are
- inwardly permeated with spirit. If music allows itself to be inspired
- of the major third by an inner enrichment of musical experience
- musically something of the inner being of man that reaches out into
- resolved in something which, to the musical ear, resembles a musical
- then we shall have evoked in this way the musical experience of the
- a possibility of giving a musical representation of the Incarnation,
- this musical configuration as pure music.
- musically.
- Impulse can be found in music. And the dissolution of the
- Maximum number of matches per file exceeded.
- Title: Lecture Series: An Impulse for the Future
Matching lines:
- subjects: Dr. Felix Peipers; for Music: Mr. Adolf Arenson; for
- forces of eurythmy, carried by etheric impulses and the musical art
- Title: Article: West-East Aphorisms
Matching lines:
- weaves in a spirit element or music and picture. It is released from the
- Title: Anthroposophic Movement: Lecture One: The Homeless Souls
Matching lines:
- not only about the musical element but about the movement as a
- Title: Anthroposophic Movement (1938): Lecture I: Homeless Souls
Matching lines:
- talking now of the musical element only, but of Wagnerianism as
- Title: Anthroposophic Movement: Lecture Four: Spiritual Truths and the Physical World
Matching lines:
- imagination, in the audible harmonies of music, or in the words of
- Title: Anthroposophic Movement (1938): Lecture IV: Blavatsky's Orientation: Spiritual, but Anti-Christian
Matching lines:
- — or in the audible harmonies of music, or else, if words
- Title: Christmas Conference: Lecture 1: Introduction to the Eurythmy Performance
Matching lines:
- painting, or the arts of music or poetry, you will always
- Title: Christmas Conference: Lecture 8: Continuation of the Foundation Meeting, 27 December, 10 a.m.
Matching lines:
- Another will encompass the spoken arts and music together
- the lecture by Herr Jan Stuten on the subject of music and
- Title: Christmas Conference: Lecture 9: Continuation of the Foundation Meeting, 28 December, 10 a.m.
Matching lines:
- a lecture about the element of music in spiritual life.
- gives his lecture on music and the spiritual world.
- the realm of the spoken arts together with music and
- Title: Esoteric Lesson: Stuttgart, 1-20-1907
Matching lines:
- will surround Jupiter like clouds or a mirage. Our music will resound
- as music of the spheres over there on Jupiter.
- Title: First Class, Vol. I: Lesson 1
Matching lines:
- art in general and music. It wreaks its havoc in the schools
- Title: First Class, Vol. I: Lesson 7
Matching lines:
- as cosmic music. When we hear the human heart beating it seems
- world; then one experiences cosmic-life, the music of the
- Title: First Class Lessons: Lecture XXIII (recapitulation)
Matching lines:
- the music of the spheres. Therefore, the Guardian of the
- Title: Goethe As Founder of a New Science of Aesthetics: Steiner's First Lecture
Matching lines:
- he only mercifully spares music, because music promotes courage
- appears perhaps most eminently in music, because in music there
- is no material factor to be discounted. Music is all form and
- Title: Lecture: The Nature and Origin of the Arts
Matching lines:
- Music
- those souls in the form of musical fancy. Men will have
- tone; they will have to find the musical tone in their own
- — the musical symphony.”
- understood that this can only be expressed by musical sound.
- only be accomplished through a musical work of art. And the
- soul of the woman understood how a musical composition could
- Title: Lecture Series: The Physical-Superphysical: Its Realisation Through Art
Matching lines:
- pure, genuine, artistic nature of music: “Therefore
- music represents what is supreme in art, because it has no
- Title: Lecture Series: The Sources of Artistic Imagination and
The Sources of Supersensible Knowledge
Matching lines:
- distinct in itself. Architecture differs from music,
- of seership in the domain of music and poetry are of a quite
- music, the seer must penetrate still further than the sphere
- connection with music and:the art of poetry arise in him.
- experiences that come from music in the realm of
- seership, music is not experienced as it is in ordinary
- lifted upward from the element of music.
- does poetry associate itself with music in the consciousness
- borne upwards and again drawn within the element of music,
- experiences: with regard to music and poetry.
- question arises: By means of what process does the musician
- produce from within himself what lives in his music? First of
- envisage this by thinking of the art of music,. While a man
- is unfolding musical or other mental images, and while in his
- instance, when a man has genuine-musical talent. How does
- is the result of inner destiny) produces musical talent or
- sensitiveness to music. Other special artistic faculties also
- the soul (where we are all of us musicians). When the balance
- the brain, there we find music. The process by which the
- Title: Lecture: 'Goethe's Faust' From the Standpoint of Spiritual Science
Matching lines:
- order to express his longing for the Divine. He takes a music
- Title: Problem of Faust: Lecture IX: Goethe's Life of the Soul from the Standpoint of Spiritual Science
Matching lines:
- would fit in with music in the same way as Goethe's theory of
- Title: Lecture: Technology and Art: Their Bearing on Modern Culture
Matching lines:
- caught up in these anything but musical experiences of our
- kind of musical experience. And there is also the opposite
- direction: from the musical to the plastic-pictorial.
- Title: Art/Mystery Wisdom: Lecture One
Matching lines:
- not exactly musical experiences in our surroundings, and you
- it is led over into a kind of musical experience. There is
- also the opposite step, from the musical element back into
- Title: Art/Mystery Wisdom: Lecture Two
Matching lines:
- Music takes
- movement, formative activity in rhythmic or musical sequence,
- musical ideas rather than spatial ideas to come to our
- ego descends into the astral body: then music is born.
- Music
- So music
- Music
- beyond poetry, as poetry stands out beyond music, music
- Music
- that our ability to experience a musical work of art depends
- upon this inner musical activity of the astral body: only
- while we listen to the music with our ego we immediately sink
- the cosmos according to musical laws. Inasmuch as we are
- astral beings we are musically connected with the cosmos. We
- universal music, what has always been called the music of the
- activity of the cosmic music; we could then say to ourselves:
- astral body is concerned, the human being is a musical
- which he could hear the music of the heavenly Jerusalem. They
- said: All earthly music can only be a copy of the heavenly
- music which began with the creation of mankind. And the more
- Maximum number of matches per file exceeded.
- Title: Art/Mystery Wisdom: Lecture Three
Matching lines:
- through music! In the last analysis genuine music is
- given to us in the processes we perceive in musical
- compositions. When he surrenders himself to musical
- creative art of music which links us with the future of
- that musical creativity is called upon to perfect itself more
- and that the musical creativity that has entered into our
- infinitely more meaningful in the musical creativity of the
- future. And this musical art of the future will be most
- set it to music!
- inspirations and intuitions for the creation of music and yet
- their music and in their dramas, epics, and lyrical poems.
- case of the arts involving music and speech the impulses come
- Title: Art/Mystery Wisdom: Lecture Six
Matching lines:
- you see the sunrise or hear one or another piece of music, it
- develop a musical mood. Architecture produces a musical mood
- elements of architecture and music appear to be so alien in
- the outer world, through this musical mood engendered in us,
- a musical mood with architectural form. If you study what is
- to bring architectural forms into musical flux, and the
- arouse a musical mood in the soul. It will be possible to
- feel invisible music as the soul of the columns and the
- interpenetration of the fine arts and their forms by musical
- future. Music of the future will be more sculptural than
- music of the past. Architecture and sculpture of the future
- will be more musical than they were in the past. That will be
- the essential thing. Yet this will not stop music from being
- we said yesterday, creating musical forms from out of the
- musical element in us is what enables us to educate. What we
- musical element and of how, in its most exalted form, it
- corresponds to what man meets with in initiation. Music is
- need as teachers is a musical mood, which we can have in the
- arises when a musical mood in the teacher is combined with
- musical-sculptural elements I have just been speaking about.
- Title: Art/Mystery Wisdom: Lecture Eight
Matching lines:
- experiences an inspirational world full of music of the
- Title: Arts and Their Mission: Lecture VII
Matching lines:
- drama, costuming, music, poetry, eurythmy, and more.
- artistically in sculpture, painting, music, poetry.
- we approach man from the external world, so we meet music, rhythm, beat,
- external music, that performed between blood and nerve system in the
- into poetry, one can feel how, in the word, this inward music is again
- inner nature and arrive at the arts of music and poetry; a living
- music, poetry.
- Title: Arts and Their Mission: Lecture VIII
Matching lines:
- drama, costuming, music, poetry, eurythmy, and more.
- With the musical element we enter man's inner world, and it is extremely
- clairvoyance man had a special experience of music. In those ancient
- days music gave him a feeling of being lifted out of the body. Though
- enjoyed the chords of the seventh. They played music and sang in the
- interval of the seventh which is not today considered highly musical.
- of music — was that of the third, the major and minor third. Whereas
- formerly music had been experienced outside man in a kind of ecstasy,
- and with them the major and minor scales, took music right into man.
- to experience music inwardly, within his bounding skin.
- which penetrates into space; on the other, in music, the scales of the
- spatial perspective we have external naturalism, in the musical experience
- future development of music will be toward spiritualization, and involve
- with other tones, it may reveal the mystery of music. In the future
- the world of spirit. Some modern musicians have made beginnings in
- modern musicianship there is a longing for comprehension of the tone
- that is to music and poetry. I deeply regret the impossibility of carrying
- a musical artist, for he tunes his nerve strands in a distinctly musical
- of plastic-musical power of growth and formation as, once, for the care
- sensed that the god who lives and weaves in the plastic and musical
- Maximum number of matches per file exceeded.
- Title: Arts and Their Mission: Lecture I
Matching lines:
- drama, costuming, music, poetry, eurythmy, and more.
- Title: Arts and Their Mission: Lecture II
Matching lines:
- drama, costuming, music, poetry, eurythmy, and more.
- Title: Arts and Their Mission: Lecture III
Matching lines:
- drama, costuming, music, poetry, eurythmy, and more.
- With music
- leave space entirely. Music is line-like, one-dimensional; is experienced
- one-dimensionally in the line of time. In music man experiences the
- nature. Studying the secrets of music, we can discover what the Greeks,
- What is experienced musically is really man's hidden adaptation to the
- marvelous musical strings with a metamorphosed activity. The spinal
- the tones of an external musical instrument to the degree that he feels
- man, as nerve man, is inwardly built up of music, and feels it artistically
- own musical structure.
- in devoting himself to the musical, man appeals to his earth-dwelling
- theory, but upon actual musical creation.
- relationship between man's soul-spirit and the cosmic, in music.
- Title: Arts and Their Mission: Lecture IV
Matching lines:
- drama, costuming, music, poetry, eurythmy, and more.
- Title: Arts and Their Mission: Lecture V
Matching lines:
- drama, costuming, music, poetry, eurythmy, and more.
- Title: Arts and Their Mission: Lecture VI
Matching lines:
- drama, costuming, music, poetry, eurythmy, and more.
- Title: Lecture Series: Eurythmy
Matching lines:
- music, is represented in Eurhythmy by means of a different
- will see, Eurhythmy can be accompanied by music, for that
- which in music is expressed in tone is there and
- musical element to be found in it. When recitation or
- conducting music, showing that he attached more importance to
- Title: Eurythmy as Visible Singing: Lecture 1: The Experience of Major and Minor
Matching lines:
- Eurythmy as Visible Song/Music,
- the musical sound.
- which have been created for certain pieces of music, this portrayal
- of musical sound has consisted of nothing but the bare notes, nothing
- world. Music is the relationship of the human being, as a being of soul
- The musical element presents
- I am speaking in musical terms.
- the sound o or oo, I am naturally denying the musical element. But the
- point in question is: what is the musical experience in this going-out-of-ourselves
- of o and oo? What is it in music itself that corresponds to the out-going
- connected with o and oo? The musical experience which
- then, underlying the speech, we musically experience the major mood.
- a different musical experience. Pay attention, then, to this growing
- experienced musically, too. Musically this can occur in the experience
- and music into a relationship with ourselves; how, in consequence, all
- music [eurythmy] have to flow back into the human being. Everything
- a bridge between speech eurythmy and music eurythmy. And when in speech
- the musical element more inwards, whereas the movements of speech eurythmy
- basic elements of music, the major triad and the minor triad, can be
- basically expressed in the realm of music what is expressed for the
- Maximum number of matches per file exceeded.
- Title: Eurythmy as Visible Singing: Lecture 2: Experience and Gesture; the Intervals
Matching lines:
- Eurythmy as Visible Song/Music,
- music must be gesture rising out of actual experience, and this can
- if you once more place before your soul the origin of music and speech
- in the human being. [7] Music and language, that is to say, the sounds
- of music and of speech, are connected with the whole human being. When
- or music comes about. The formations of speech and music live purely
- through this. Musical sound and the sounds of speech actually acquire
- examples. Think of a musical sound as such, and in order to have a starting
- it encloses the human being. And never, in the realm of musical sounds,
- must experience the musical element in a fuller sense than, for instance,
- the musical sound, taking hold of it, being able to hear it, and living
- poem. The poem is what lives in the musical, sculptural and pictorial
- that modern music [1924] too exhibits the tendency that does not allow
- the actual music, the progression of notes, to speak for itself, but
- of our age. This, however, is not because I regard his music as being
- ‘musical music’, but rather because we have to admit the
- demand of the present age for ‘unmusical music’. It is apparent
- to me that unmusical music has its justification in our age. Fundamentally
- speaking, Wagner's music is unmusical. [13] And it is really necessary
- in an age like ours, when music should also become gesture, to point
- Maximum number of matches per file exceeded.
- Title: Eurythmy as Visible Singing: Lecture 3: Melodic Movement; the Ensouling of the Three Dimensions through Pitch, Rhythm and Beat
Matching lines:
- Eurythmy as Visible Song/Music,
- become vividly real when we pass over from the musical element to the
- eurythmical element. Music naturally is something perceived, as it is
- of the musical sounds in a really living way, as we endeavoured to do
- musical, and upon a sculptural, pictorial treatment of speech. And when
- influence upon everything that is musical.
- where music is concerned, too. This cannot be denied — we are living
- tendency to drive music as such into mere noise. [14] We have gradually
- ceased to be musical in the real sense, and instead we now make use
- of music in order to portray all sorts of sounds which are meant to
- sphere of music — doubtless with the most honest intentions! But it
- Thus it is easy to see how eurythmy can work correctively upon musical
- actual musical element is only to be found in the melodic element, the
- have gone so far in this direction that they try to make music represent
- in the position of the distinguished European musician who once played
- quite other than a basically unmusical, noisy conglomeration of quite
- you the fact that in the musical element a real world is present, wherein
- of music is concerned, our present age is in a sorry state. All these
- single note. In reply to various questions as to how music ought to
- [18] People will surely discover the possibility to deepen music by
- Maximum number of matches per file exceeded.
- Title: Eurythmy as Visible Singing: Lecture 4: The Progression of Musical Phrases; Swinging Over; the Bar Line
Matching lines:
- The Progression of Musical Phrases; Swinging Over; the Bar Line
- Eurythmy as Visible Song/Music,
- Lecture 4:The Progression of Musical Phrases;
- [25] It is the progression of the motif, the musical motif in time,
- musical element.
- attention to the actual musical element. Now, the musical element makes
- sense in the progression of the motifs — that is, the musical element
- is how the progression of a musical phrase must be treated in eurythmy.
- Usually in music itself,
- even when listening.to it, people fail to observe the musical sense
- feel that something like a ‘dead interval’ lies between them (musicians
- that people have no feeling for the fact that the true musical element
- of the musical element, being at all events a more or less illustrative
- the musical element. The eurythmist is really obliged to study the way
- in which the human being streams out, as it were, into the musical element.
- more than the corpse, that may be seen. Now in music, the physical form
- musical elements; it represents the beat. It is therefore quite natural
- attention to melody, which conveys the actual spirit in the musical
- in the musical element the whole human being, with the exception of
- from the musical realm to that of speech, the ego steps in. Naturally,
- Maximum number of matches per file exceeded.
- Title: Eurthmy as Visible Singing: Lecture 5: Choral Eurythmy
Matching lines:
- Eurythmy as Visible Song/Music,
- to express in eurythmy the essence of the musical element as musical
- of the musical element by a single person, from a certain point of view,
- will be valued, for they are a means whereby the actual essence of musical
- a musical impression can also be given by means of the concerted working
- then we can perceive that which forms the fundamental basis of musical
- myself thinking of a very significant Austrian musician of the present
- day. This musician, who was born in Wiener-Neustadt, opposes all modern
- music with extraordinary vehemence, denouncing it as ‘bad European music’.
- interest to eurythmists. Hauer [33] began to study music at a very early
- to acquire all that we presently call music. We can feel in Hauer's
- what goes by the name of music today is exceptionally easily come by,
- but, on the other hand, that precisely the musical element is missing,
- that we are led away from the musical realm. Indeed, very much of what
- I have to say about the eurythmic presentation of the musical realm
- and radical way. He speaks, for example, about atonal music.
- musical element, the spiritual element in music, lies between the notes,
- about atonal music Hauer touches on something that is very significant
- that the music of today [1924] is not really music, but simply noise,
- and perceives that on which the musical element depends. It is, moreover,
- Maximum number of matches per file exceeded.
- Title: Eurythmy as Visible Singing: Lecture 6: The Sustained Note; the Rest; Discords
Matching lines:
- Eurythmy as Visible Song/Music,
- the question: If music essentially is the flow of Melos, and
- gestures of eurythmy, what then is the musical element as such, the
- music shown in eurythmy, meant to express?
- of something which is not in itself musical. I have often mentioned
- as other influences, music on the one hand has become expression, expression
- of something that is not music. On the other hand, especially in the
- beginning of the age of Wagner, we also find pure, absolute music (the
- musical element as such, simply the weaving of musical sounds) —
- music into a tonal arabesque, a progression of notes without content.
- extreme cases. To put forward the idea that music embodies nothing and
- where the essential musical element lies. It cannot lie in the notes
- a strong urge in our modern age to deviate from the purely musical realm?
- what is purely musical, but why is the urge to deviate from it so strong?
- can never produce a musical mood. In order that modern civilization
- could furnish proof of its unmusical nature, it has laid hold of a drastic
- unmusical. And the proof is given in that it has produced the film.
- The film is the clearest proof that those who like it are unmusical.
- a lot of modern music-making [1924] tends to lay special stress upon
- for that which is musical even in what lies outside the musical sphere.
- Maximum number of matches per file exceeded.
- Title: Eurythmy as Visible Singing: Lecture 7: Musical Physiology; the Point of Departure; Intervals; Cadences
Matching lines:
- Musical Physiology; the Point of Departure; Intervals; Cadences
- Eurythmy as Visible Song/Music,
- Lecture 7:Musical Physiology;
- contains the musical element, which in fact is built into it, and on
- tone eurythmy) it contains music translated into movement. It will doubtless
- be obvious to you that the musical element is situated, so to speak,
- from singing, and from the inner musical organization upon which the
- serves the musical element in singing is continued below. That which
- bones have to be used in order to do eurythmy in the musical sense.
- yourself becoming inwardly musical, for you yourself are really living
- there the entire musical image of the first stages of the scale. When
- a piece of music is so carried out that the notes down to the C two
- today that all the musical elements may be included in eurythmy. It
- music can be expressed in tone eurythmy, but not singing. Anyone who
- about major and minor and which are found in books on music are actually
- listen in a sounder way than they think, the fate of music would be
- the instincts. It is a mercy that in music (and consequently in eurythmy)
- based on the musical element may be expressed in tone eurythmy. To be
- not only of how this or that occurs in the musical phrase, but also
- in the musical element that which brings about a close for musical feeling
- Maximum number of matches per file exceeded.
- Title: Eurythmy as Visible Singing: Lecture 8: Pitch (ethos and pathos), Note Values, Dynamics, Changes of Tempo
Matching lines:
- Eurythmy as Visible Song/Music,
- means of expressing that most essential element of music, the phrase
- it really is the phrase which truly carries music into being), and direct
- makes it a true means of expressing the musical element: pitch. Further,
- the musical phrase. The more external aspect will be considered later.
- Now everything musical,
- that nothing is musical which is not in some way rooted in human feeling.
- Similarly, when music streams over into eurythmic movement, everything
- in music we have to do with feeling.
- intention to intellectualize the musical element. I have no such intention!
- And so a musician need not in the least be interested when the intellectual
- sound-waves. The musician can justifiably answer: ‘This may be all very
- in this.’ An intellectual conception of music leads away from the sphere
- of music. It may be left to the physicist. [51] That element of music
- music inclines away from the intellect that the head has so little to
- of the musical element, that is pitch, the activity of the head should
- element of seeking meaning, enters into the musical element, and this
- idea may frequently recur in a train of thought, just as a musical motif
- may recur, for then the musical element is effective in the . train
- seen, pitch (which lives in the musical phrase) initially finds expression
- Maximum number of matches per file exceeded.
- Title: A Lecture on Eurythmy
Matching lines:
- architecture, for example, sculpture, painting or music — certain
- musically. Indeed one can go so far as to say that painting itself can
- otherwise carried out by the organs connected with speech and music.
- Thus there arises visible speech, visible music — in other words,
- equally to the tones of music. The various sounds of speech, the use
- their nature as are the sounds of speech, or the tones of music.
- sounds which are imaginative, plastic and musical.
- imaginative, plastic, coloured use of words, their music, rhythm and
- something which might be described as a vague musical motif, a sort of
- Language is truly poetic only in so far as it is used musically,
- but also by instrumental music. But here it must always be borne in
- mind that Eurythmy is music translated into movement, and is not
- accompanied as it is by instrumental music, is clearly to be
- visible music. One can go even further and maintain that the movements
- Anyone who says: “As far as I am concerned, speech and music are
- thus brought to the children as visible speech and music is accepted
- Title: Poetry/Speech: Lecture I: The Art of Recitation and Declamation
Matching lines:
- formless, more musically-felt word, you will everywhere notice the
- transition from the inwardly plastic to the inwardly musical
- there arises a musical quality. A “plastically-musical”
- of the plastic and musical, where a feeling of the ethical-natural
- Title: Poetry/Speech: Lecture II: The Art of Recitation and Declamation
Matching lines:
- easily enter anyone's head that someone could be a musician,
- the human organism, to vibrate musically; our attention is directed
- to something musical which permeates the human being, and which
- Homeric epic we are given something musical. Both, however, from
- more metrical “Charon” is drawn more from the musical
- While melting music steals upon the sky,
- Greek, this was more musical – as if it resounded up from the
- experienced a musical element and expressed this in metre, so the
- “I”; it speaks in human consciousness, speaks musically
- Title: Poetry/Speech: Lecture III: The Art of Recitation and Declamation
Matching lines:
- way in which all those things that in music and singing, in pitch,
- inner experience closely resembling what hovers behind music, that
- Title: Poetry/Speech: Lecture IV: Poetry and the Art of Speech
Matching lines:
- or music-script – and that the art of recitation and
- or other practising musician has to do. The re-creation is a new
- creating and the new creation is a re-creating. A musician who
- musician, and in deploying his particular instrument he will also
- lives everything which we might describe as coming from musical
- experience can definitely be traced back to musical experience. But
- in musical experience we find inwardness being
- How many a tale their music tells,
- something formed. In the lyric it must go more into the musical. In
- And what lives in rhythm is expressed again in the musicality of
- been permeated by the element of music. The latter is especially
- (Gay music in the distance coming
- Give me some Musick; look that it
- Soft Musick
- (Soft Musick again)
- same time there sounds through softly, as something musical, the
- this is the delicate musical element which should become
- Title: Poetry/Speech: Lecture VI: Speech-Formation and Poetic Form
Matching lines:
- front of them like a musical conductor with his baton. The
- of a melodic nature as the content of his soul; something musical
- an artist, the essential thing – the musical element of his
- soul. So we have on the one hand something musical, which as such
- would remain pure music; and on the other, the pictorial, painterly
- the one hand a musical element will be perceptible – at the
- the musical element infiltrates this pictorial form: a musicality
- vowel-element. This gives what one might call musical substance to
- something musical from within. Here we have something which streams
- art, drawing on the musical principle and flowing into themes and
- pictorially – in musicality we have what endows language with
- realise the musical as well as the plastic quality inherent in
- Greek recitative metre. The Greeks spoke of the music of
- Title: Poetry/Speech: Lecture V: Poetry and Recitation
Matching lines:
- and in what musically formed the sound, tone and line through
- pictorial or a musical speech-formation, which is then brought to
- melody, a musicality onto which he then threaded the prose-content,
- simply be felt. And only when it does justice to the musical in
- objective realities of tone, in “musical pictoriality”
- Each one to sound his instruments of music in
- Title: Poetry/Speech: Lecture VII: The Uttering of Syllables and the Speaking of Words
Matching lines:
- word has not yet become word, but still submits to the musical,
- goes back from the prosaic or literal to the musical or plastic.
- musical theme, onto which he then threaded the words. One might
- as regards verbal content, out of the same musical theme. And to
- sound, the balance of the syllables, the musical rhythm and
- formative and musical experience.
- inwardly eurythmic, the imaginative and musical configuration of
- whether plastic or musical –
- Title: Poetry/Speech: Lecture VIII: The Interaction of Breathing and Blood-Circulation
Matching lines:
- musical creativity.
- As that their movings doe a musick frame,
- truly musical and imaginative qualities of poetry is really saying
- Title: Inner Nature of Music: Lecture II
Matching lines:
- The Inner Nature of Music and the Experience of Tone
- musical experience, the connection between speech and song, the religious
- experience of music in ancient times, the cosmic sources of musical
- Today we will develop further the theme of why music affects the
- marked musical talent. Another case is the Bernoulli family, in which
- music appears to be something quite special. Music has always
- says that this holds true of all the arts except music. Music stands
- hidden intentions of nature are discovered. Music, on the other hand,
- expression. The musician hears the pulse of the divine will that
- tones. The musician thus stands closer to the heart of the world than
- will. Music is the expression of the will of nature, while all the
- other arts are expressions of the idea of nature. Since music flows
- it is understandable that the effects of music on the human soul are
- Schopenhauer and Goethe concerning the sublime art of music to the
- in the melodies and harmonies of music and the effects it has on the
- element of music, an ocean of tones. A musical person is one whose
- need not know this. A sense of musical pleasure is based on nothing
- and the tones and melodies here. We experience musical pleasure when
- the musical element, the cooperation of sentient soul and sentient
- we can grasp the basis of the profound significance of music. We
- Maximum number of matches per file exceeded.
- Title: Inner Nature of Music: Lecture III
Matching lines:
- The Inner Nature of Music and the Experience of Tone
- musical experience, the connection between speech and song, the religious
- experience of music in ancient times, the cosmic sources of musical
- plane in music and generally in the life of tones. We mentioned that
- twenty-nine more-or-less gifted musicians were born into the Bach
- nothing directly to do with the inheritance of musical talent.
- Musical talent is transmitted purely within physical heredity. The
- realize that man's musical gift depends on a special
- configuration of the ear. All musical talent is meaningless if a
- person does not have a musical ear; the ear must be specially adapted
- for this talent. This purely bodily basis for musical talent is
- handed down from generation to generation. We thus have a musical
- son, father, and grandfather, all of whom had musical ears. Just as
- from the previous incarnation the predisposition for music that now
- in bodies possessing a musical ear? These individualities would have
- family with a musical ear, with a bodily predisposition that will
- one will understand how a certain kinship can exist between music and
- canals. The musical family's distinguishing feature is the
- musical ear. The mathematical family shows a special development of
- one member to another, just like the musical ear in the Bach family.
- Title: Lecture: The Occult Basis of Music.
Matching lines:
- It is the first lecture in the series The Inner Nature of Music,
- THE OCCULT BASIS OF MUSIC
- The Inner Nature of Music and the Experience of Tone
- OR those who think of music from the aesthetic point of view, there is
- music has a special character. All the other arts have some kind of
- one tried to apply this theory to music, one would get nowhere —
- What is the origin of musically-shaped sounds? How are they related to
- It is precisely in connection with this art of music that Schopenhauer
- indeed clear and striking. He assigns to music a quite special place
- So it is with all the arts except music. All the other arts
- musical sound is a direct expression of the Will itself. The composer
- of musical sounds. Music is thus intimately related to the working of
- reflects the feeling of it; that is why music is so deeply satisfying.
- Why does music speak so intimately to the heart, and so widely, and
- music are to be found.
- draw his music from out of his own soul. Whence he derives it we shall
- light and colour; it first announces itself as a world of musical
- endlessly flowing and changing ocean of musical tones. When continuous
- waves of living sound, so that every morning he wakes from the music
- rejoices in flowing tones of music: they are the very element out of
- Maximum number of matches per file exceeded.
- Title: Inner Nature of Music: Lecture I
Matching lines:
- The Inner Nature of Music and the Experience of Tone
- musical experience, the connection between speech and song, the religious
- experience of music in ancient times, the cosmic sources of musical
- The Occult Basis of Music
- those who care to reflect on it, music has always been something of
- an enigma from the aesthetic point of view. On the one hand, music is
- wish to compare music with the other arts, we must say that all the
- of reality. One who wished to apply this approach to music, however
- ideas to bear on art. He placed music in an unique position among the
- is the case with all the arts except music. The other arts must pass
- essence in music, he feels a deep contentment in music.
- of an instinctive knowledge, Schopenhauer attributed to music the
- that the musical element can speak to everyone, that it affects the
- from the realm of existence in which music has its true prototypes.
- the musician composes, he cannot imitate anything. He must draw the
- motifs of the musical creation out of his soul. We will discover
- from a world of the music of the spheres, and from this region of
- creative musician transposes the rhythm, the harmonies, and the
- into physical tone. Unconsciously, the musician has received the
- musical prototype from the spiritual world, which he then transposes
- Maximum number of matches per file exceeded.
- Title: Inner Nature of Music: Lecture IV
Matching lines:
- The Inner Nature of Music and the Experience of Tone
- musical experience, the connection between speech and song, the religious
- experience of music in ancient times, the cosmic sources of musical
- it is really a musical instrument. Indeed, you can comprehend
- standard musical instruments, a violin or some other instrument, by
- reminiscent of musical instruments, and the totality and harmony of
- vowel element is the soul playing on this musical instrument. When
- toward the body, which serves as the musical instrument only by
- are now within the universal music, the song of the universe; you are
- fact, in a musical element, which is an element of speech at the same
- musical element, which is becoming imbued with soul.
- the art of music, of song, arises.
- extracted from the human being arises the musical, the song element,
- art of sculpturing, from the other comes a musical and song-like
- Title: Lecture: Speech and Song
Matching lines:
- The Essence of Music and the Experience of Tone.
- The Inner Nature of Music and the Experience of Tone: Lecture IV.
- music. And it is a happy coincidence at the present moment that in
- — whether the articulate sounds of speech or the musical notes
- here meant. For when the human being brings forth a musical note in
- body? From the point of view — the musical point of view
- great musical instrument. Even the external musical instruments
- — the violin or any other instrument of music — even
- musical instruments; and the totality, the harmony of all consonants,
- of the human being plays in vowels upon the consonants of the musical
- musical instrument for our soul to use. You will certainly have the
- body for the soul. You are immersed in cosmic music, cosmic song; you
- passes through the gate of death. He is dwelling in a musical
- musical element reveals ever more and more as it becomes filled with
- cosmic instrument of music, while from behind it our planetary Gods
- solid form, to play upon this plastic instrument of music and now, in
- human being, there arises the musical art, the Art of Song.
- being, and there arises Song — Music, which you must sing. Man
- cosmic Art of Song or Music from the other. Two kinds of spiritual
- — forms which correspond to the notes of his music.
- Title: Inner Nature of Music: Lecture V
Matching lines:
- The Inner Nature of Music and the Experience of Tone
- musical experience, the connection between speech and song, the religious
- experience of music in ancient times, the cosmic sources of musical
- will neither deal with the aesthetics of music nor is it intended for
- aesthetics of music — as conceived from today's
- musical instruction. We can go into more detail another time.
- fail the moment one is obliged to speak about the musical element. It
- is hardly possible to discuss the musical element in the concepts to
- the musical element really does not exist in the physical world. It
- like Goethe to consider the musical element as a kind of ideal of all
- forms of art. Hence, Goethe said that music is entirely form and
- struggled for an understanding of music, the strange distinction was
- made between the content of music and the subject of an art form.
- The Beautiful in Music,
- [Edward von Hanslick (1825–1904), music critic and
- The Beautiful in Music
- 1954.] Naturally, Hanslick ascribes a content to music, though
- in a one-sided manner, but he denies music a subject. Indeed, music
- intellectualism cannot reach the musical element, because it can deal
- the strange fact that nowhere in the well-meant instruction of music
- Maximum number of matches per file exceeded.
- Title: Inner Nature of Music: Lecture VI
Matching lines:
- The Inner Nature of Music and the Experience of Tone
- musical experience, the connection between speech and song, the religious
- experience of music in ancient times, the cosmic sources of musical
- plays in musical experience and on the other hand of the roles played
- description that music progressing in fifths is still connected with
- a musical experience in which the human being is actually brought out
- the seven musical scales, we discover hidden, as it were, an
- does this really mean in relation to the whole musical experience? It
- one who wishes to penetrate the secrets of the musical element. This
- imaginations in the musical element. There was still an objectivity,
- a musical objectivity, in the experience of the fifth. Man lost this
- thus have pointed out at the same time what the musical experience
- wind instrument, or of a string instrument. Musical instruments
- appeared to man at first as imaginations. Musical instruments were
- existed in music in the interval of the fifth. Only with the fourth
- does man really approach himself with the musical element.
- the instrument. This is the transition of the musical element from
- earlier ages, the relationship of musical man to his instrument must
- drawing the musical experience inward came later. Formerly, man felt
- that in relation to music he carried a certain circle of tones within
- Maximum number of matches per file exceeded.
- Title: Inner Nature of Music: Lecture VII
Matching lines:
- The Inner Nature of Music and the Experience of Tone
- musical experience, the connection between speech and song, the religious
- experience of music in ancient times, the cosmic sources of musical
- kind of experience. Atlanteans could not yet experience musical
- intervals of thirds, not even fifths. Their musical experience really
- who lives musically only in sevenths, with no intervals in between,
- as naturally as did the Atlanteans does not even perceive the musical
- perceives the musical element he feels transported out of his body
- into the cosmos. This was the case with the Atlanteans. Their musical
- make music,” would have made no sense to them. The only
- meaningful thing for them to say was, “I live in music made by
- a much diminished form, this musical experience still existed in the
- the third appeared in the musical element — both major and
- minor thirds — the musical element submerged itself, as it
- felt transported from his body while experiencing music. Man was
- definitely transported in musical life during the true era of the
- relatively recently, man is within himself when he experiences music.
- He brings the musical element close to his corporeality. He
- third and the appearance of major and minor keys, the musical
- is of special interest regarding man's musical experience to go
- Maximum number of matches per file exceeded.
- Title: Lecture Series: Special Building for Anthroposophy at Stuttgart From an Occult Point of View
Matching lines:
- by means of music we are placed in touch with the astral part of our
- surrounding world. Music acts directly upon our astral body, so that we
- down. The revelation through music is a more direct one than when the
- results, leaves us independent, whereas music constrains us.
- Title: Ways/Architecture: Lecture I: The Acanthus Leaf
Matching lines:
- than music can be created by an imitation of nature. Even in
- Title: Ways/Architecture: Lecture II: The House of Speech
Matching lines:
- us. If we hearken to the music of the forms on our walls
- spiritual, musical harmony of the outer with the inner world.
- Title: The Building at Dornach (Bn/GA 289): Lecture II: Bau Lecture II
Matching lines:
- only like a musical score. Thus you will see that. these glass windows
- Title: Colour: Part Two: Dimension, Number and Weight
Matching lines:
- I do not think, for example that the musician lays much value on
- bondage even in musical naturalism to free musical Art.
- Title: History of Art: Lecture II: Leonardo, Michelangelo and Raphael
Matching lines:
- a musician, a cultured man in social intercourse, a scientist according
- horse, Leonardo constructed an instrument of music, from which he enticed
- Title: History of Art: Lecture VI: Dutch and Flemish Painting
Matching lines:
- 5. Angels making Music
- angels playing on instruments of music. Compare them with the angels
- Title: History of Art: Lecture X: Disputa of Raphael - the School of Athens
Matching lines:
- The musical element of the North took the place
- astronomy and music.
- visual expression of the music of the spheres in the
- Title: History of Art: Lecture 10: Disputa and The School of Athens of Raphael
Matching lines:
- back and rejected. The musicality of the North takes over the place
- Title: Study of Man: Lecture V
Matching lines:
- represent? He is supposed to represent a musical connoisseur who quite
- should dwell in music. In the contrast between Walther and Beckmesser,
- feeling and thinking work together in the hearing of music. And this
- the whole appeal to feeling in Wagner's art as unmusical. There are
- of view as the work of Eduard Hanslick On Beauty in Music. The
- music from a feeling element is no true musician, and has no real
- understanding for music: for a true musician sees the real essence of
- what is musical only in the objective joining of one tone with
- abstaining from all feeling. In this book, On Beauty in Music
- highest type of music must consist solely in the tone-picture, the
- of music is a clear sign that recent psychological ideas about the
- Music is very brilliant.
- Title: Study of Man: Lecture X
Matching lines:
- to song and music. Head man reveals Body: Breast man Body and Soul:
- music within.
- poetic, the musical arts, arise out of the plastic, the architectural
- musical arts are within. A reflecting back of the world from within
- outwards such is the nature of the musical arts. Thus does man
- Title: Study of Man: Lecture XI
Matching lines:
- instance, or Eurythmy. It wouldn't do. Nor can we give him a musical
- art. The first elements of drawing, painting and music must precede
- Title: Practical Course/Teachers: Lecture I: Introduction - Aphoristic remarks on Artistic Activity, Arithmetic, Reading, and Writing
Matching lines:
- the spirit when we teach the child music, drawing, or anything
- begin, too, with the musical element, so that the child is
- instruction, and musical training, too, should be
- “musician.” If people had the right and necessary
- to bring his own body into a musical rhythm, into a musical
- relation with the world, and this inner musical capacity is
- build less on externally induced music than on the inducement
- first teeth are shed the disposition for the complete musical
- element. The separate senses, the musically attuned ear, the
- plastically skilled eye, arise first from this musical
- disposition; what we call the musical ear, or the eye for
- drawing or modelling, is a specification of the whole musical
- experience in utilizing either the musical element or the
- Title: Practical Course/Teachers: Lecture II: On Language - the Oneness of man with the Universe
Matching lines:
- it? It is essentially music exceeding certain limits. An
- experience of music disintegrates, exceeds a certain limit,
- more than a mere musical experience. That is: in the
- something musical, but in the degree in which it contains
- fusion of musical with plastic elements in man. You can see
- Title: Practical Course/Teachers: Lecture III: On the Plastically Formative Arts, Music, and Poetry
Matching lines:
- stream of the musically poetical. These two domains of art,
- that of the plastically formative and the musically poetical,
- the Jewish element is especially disposed to the really musical
- justified aspirations, to unite the musical with the
- where the musical and the visible can become one —
- musical element, which lives in the human being from birth
- by a profoundly musical experience into a certain degree of
- educational value of music must consist in a constant
- a supremely living power in music must be partially subdued and
- introduce music to children.
- in music. But I want to point out that here it is
- musical child; this one is not musical. Certainly the fact is
- unmusical child must be kept apart from all music and
- only the musical children must be given a musical education, is
- thoroughly false; even the most unmusical children should be
- included in any musical activity. It is right without a doubt,
- from the point of view of producing music more and more, only
- to encourage the really musical children to appear in public.
- But even the unmusical children should be there, developing
- sensitiveness, for you will notice that even in the unmusical
- Maximum number of matches per file exceeded.
- Title: Practical Course/Teachers: Lecture IV: The First School-lesson - Manual Skill, Drawing and Painting - the Beginnings of Language-teaching
Matching lines:
- similar process can be applied to the teaching of music. Here,
- have just described. Perhaps the musical element will have to
- it at another time. Now it will be well for the music-master to
- based more upon music, and also to refer to it frequently, so
- Title: Practical Course/Teachers: Lecture V: Writing and Reading - Spelling
Matching lines:
- that the first elements of the musical experience of beauty and
- Title: Practical Course/Teachers: Lecture VI: On the Rhythm of Life and Rhythmical Repetition in Teaching
Matching lines:
- artistic: music, drawing, plastic art, etc.; but on the other
- Title: Practical Course/Teachers: Lecture VII: The Teaching in the Ninth Year - Natural History - the Animal Kingdom
Matching lines:
- taking for the purpose his father's music desk, laying minerals
- Title: Practical Course/Teachers: Lecture X: Arranging the Lesson up to the Fourteenth Year
Matching lines:
- element as our point of departure. We shall study music and
- For we cannot take music with little beginners who have come to
- lesson and music late in the afternoon. We shall also have to
- Music. Painting with drawing.
- Title: Practical Course/Teachers: Lecture XIII: On Drawing up the Time-table
Matching lines:
- in the playing of a musical instrument. From the first we
- the production of music from within by song, and the hearing of
- the way into music, will provide for us, particularly in the
- music and the gymnastics and Eurhythmy to be in the afternoon,
- music and gymnastics and Eurhythmy with the children in the
- study the elements of painting and drawing, of music, and even
- Title: Dear Children: Lecture II: Address at a Monthly Assembly
Matching lines:
- on in recitation, drama, music, and eurythmy, or in foreign languages,
- Title: The Three Fundamental Forces in Education: Lecture
Matching lines:
- and in music. These forces are derived from the world.
- musical forces derive more from the outer world, the
- that takes place in nature is permeated by a mysterious music:
- I In- earthly projection of the “music of the
- really incorporated a tone of the music of the spheres. That is
- unconsciously, and that is why children are musical to such a
- opposed by the gradually developing spiritual element of music
- voice. That is a conflict between inner music-speech forces and
- outer music-speech forces. Up to the seventh year, man is
- essentially permeated more by plastic and less by musical
- forces — that is, less by the music and speech forces
- year what proceeds from music-speech becomes particularly
- what is active in music-speech; only this changes in the
- music-speech on the one hand and the plastic-architectonic on
- seat there, and speech-music, which comes from without, uses
- particularly music, co-operates in the formation of man.
- musical achievement performed in the reciprocal action between
- absorbs of the music-speech element — very little of the
- speech, but very much of the musical — passes through the
- skeleton we find a musical image too, but only in the sense
- Maximum number of matches per file exceeded.
- Title: Meditative Knowledge of Man: Lecture II: The Three Fundamental Forces in EducatioN
Matching lines:
- to say, they are the same forces that are active in speech and in music.
- forces as are of a musical kind are taken up more from the outer world,
- secret music pours through every natural occurrence —
- the earthly projection of the music of the spheres. In truth, a tone of
- children musical to such a high degree. All of this they are taking up into
- element of music and language, developing gradually from within outward.
- music and language and outer musical-1inguistic forces.
- formative and less by musical forces, that is to say less by forces of
- music and language glowing through his organism. From the seventh year on,
- however, the activity of music and speech becomes particularly strong in
- formative-structural works in collaboration with the musical lingual. This
- between the musical-lingual on the one hand and the formative-structural on
- musical-lingual, proceeding from the outer world, coming from outside,
- this we see that human speech too, but above all the musical element
- skeleton an incorporated musical achievement, played out in the interaction
- the lingual-musical element (very little of the lingual but very much of
- the musical) passes right through the animal, since it lacks in a certain
- skeletal form of the animal we have a musical imprint too, but it is such
- that a musical coherence would be provided only if various skeletons were
- irradiates our musical and language instruction, while we acquire more of
- Maximum number of matches per file exceeded.
- Title: Meditative Knowledge of Man: Lecture III: Spiritual Knowledge of Man as the Fount of Educational Art
Matching lines:
- like to call one of them the musical element, the element of sound that we
- sound, to the more or less musical element; and I do not only mean the
- musical element that lives in
- music,
- limb organisation. Everything musical has to penetrate deep inside our
- convey the actual perception of musical experiences. So if you look for the
- music into such intimate connection with the will. Musical perceptions are
- the realms of the will. The place where musical perceptions are understood
- experiences. And the musical element, that is, everything we hear, is
- metabolism of the head realm and bring about musical memories. In the same
- realms in which perception of visual things take place musical memory, the
- who has ever studied musical memory — and despite the
- pronounced in man's inner world, and that cosmic music moves beneath the
- example you do a lively meditation on the whole life of the musical element
- musical memories in the realm where we have perceptions of what we see
- Title: Meditative Knowledge of Man: Lecture IV: The Art of Education Consists of Bringing Into Balance the Physical and Spiritual Nature of the Developing Human Being
Matching lines:
- certain point of view that an element of will, a musical element is being
- is really the musical element and all that which is being absorbed as
- music, as sound is vibrating through the astral body. Through this activity
- through. Equally, everything in language which is of a musical nature, for
- the organism. Music will be specially beneficial for a somewhat fanciful
- recollect music, his musical, memory. These are the means we must use when
- receiving a special musical training, we notice that he becomes too
- listening and less his musical memory. We can always work for a balance:
- try to regulate things through the way we teach a language. All the musical
- and cosmic-musical forces. This interplay unfolds of course in the most
- and also when man is asleep. This interplay between the musical element and
- the rest of the organism undergoes, you must feel yourself a musician doing
- is this weight which influences the musical forming of the movements. And
- approach life with a sense of music (
- face him, in this way you can see what expresses itself musically; you
- compose by merely using a book on music theory, or if someone else took a
- Title: Lecture Series: Education for Adolescents
Matching lines:
- piece of music, for instance. All this must be brought to them in such
- Title: Deeper Education: Lecture I: Gymnast, Rhetorician, Professor: A Living Synthesis
Matching lines:
- being sculpturally and musically formed — has its effect
- with the musical speech of poetry. He trusted that if speech
- were handled properly, this musical and sculptural-painterly
- Our musicians compose music, they write melodies and harmonies,
- someone frequently ini the realm of music; but why do they
- to bring a musical, sculptural-painterly quality into speech,
- Title: Deeper Education: Lecture II: Forces Leading to Health and Illness in Education
Matching lines:
- teaching in the musical sphere and, on the other, the right
- upon the musical sphere. Thus, our teaching takes shape, and
- Title: Deeper Education: Lecture III: A Comprehensive Knowledge of Man as the Source of Imagination in the Teacher
Matching lines:
- musical education counteracts this excessive formation of the
- music, for example, is interspersed among the other subjects,
- Title: Spiritual Ground: Lecture IV: Body Viewed from the Spirit
Matching lines:
- Consider how much everything to do with music is connected with the
- rhythmic system. Music is nothing else but rhythm carried over into
- the piano. And as in the case of music, so it is also, in a finer,
- Title: Spiritual Ground: Lecture V: How Knowledge Can Be Nurture
Matching lines:
- see to it that the musical element is appreciated as early as
- possible. For the musical element will give a good foundation for a
- this stage — not so much to musical content as to the rhythm and
- beat of the music, the experience of rhythm and beat; and especially
- Moreover, I had to make careful note of the time of the music lesson,
- Title: Spiritual Ground: Lecture VII: The Organisation of the Waldorf School
Matching lines:
- that the afternoon periods are all used for singing, music and
- and music we use in the Waldorf School. Here are various things
- Title: Child's Changing Consciousness: Introduction to a Eurythmy Performance
Matching lines:
- visible music.
- — or by various kinds of music.
- the musical and thematic treatment of sound production, is all
- musical, beat-directed, and rhythmical aspects. In prose,
- that, with its rhythmical and musical qualities, is
- Seeing song or music expressed in movement will also convey a
- pieces of music performed in eurythmy. This tone eurythmy is
- into visible speech and visible song or music.
- like a musical conductor, used a baton when rehearsing his
- sounds, in the structure of the verses, in the musical and
- for a great variety of views, just as a musical work can be
- one hand, through the musical element and, on the other,
- Title: Child's Changing Consciousness: Lecture II
Matching lines:
- legs, a new musical and melodious element is introduced into
- upon the more musical-thematic and inward element of the moving
- Title: Child's Changing Consciousness: Lecture III
Matching lines:
- relationship to the musical element. The child wants to be held
- by music and rhythms much more than before. We may observe how
- the child, before the ninth and tenth years, responds to music
- — how the musical element lives in the child as a shaping
- force, and how, as a matter of course, the musical forces are
- we notice how the child's affinity to music is easily expressed
- bound to recognize that the child's real ability to grasp music
- comprehend them completely, one will also cultivate a musical
- shock if suddenly exposed to the full force of the musical
- element, if the child were gripped by musical experiences
- musical forms) become liberated, and are used for the activity
- Title: Child's Changing Consciousness: Lecture V
Matching lines:
- music is not restricted to music in a narrow sense, but if they
- can introduce a musical element into their teaching — if
- obvious musical qualities — then children will respond
- pictures or music; anything connected with causality, however,
- A question is asked regarding music lessons given to a
- [Paul Baumann (1887–1964) music
- musical judgment takes the place of a previous feeling for
- music and of a general musical experience. The faculty of
- forming musical judgments emerges. This becomes very noticeable
- — that is, from this stage on, natural musical memory
- to make more effort to remember music. This is something that
- has to be especially remembered during music lessons. Whereas,
- before puberty the children's relationship to music was
- spontaneous and natural, and because of this their musical
- difficulties — not in taking in music, but in remembering
- same music several times, not by immediate repetition, but
- musical instruments are listened to far more consciously. There
- is also a greater understanding for the musical qualities of
- the part played by musical instruments is characteristic of
- accordingly. What is important is not to introduce any music
- Maximum number of matches per file exceeded.
- Title: Child's Changing Consciousness: Lecture VIII
Matching lines:
- the child, still very open to the musical-formative forces. In
- lessons are permeated by a musical element according to various
- activities — into singing, music-making, modeling, and so
- properly guided musically during these younger years, from the
- puberty. Proper introduction to the musical element is
- with courage. Musical forces effect the human organism by
- investigation, of how musical forces creatively work within the
- refined musical instrument in the raying out of the nerves from
- properly develop qualities of courage, if musical instruction
- and the general musical education do not work harmoniously with
- this wonderfully fine musical instrument. What constitutes a
- truly delicate and unique musical instrument is coming into
- of music, we enhance the merging of external sounds (from a
- piano during music lessons, or from the children's singing
- thing, because in every music lesson there is a meeting between
- truly meet in every achievement of musical culture throughout
- teachers' staff meetings where the music teacher may inspire
- Title: Education: Lecture I: Science, Art, Religion and Morality
Matching lines:
- sculpture, painting, music and other arts. He embodied with
- Title: Education: Lecture II: Principles of Greek Education
Matching lines:
- with a certain plastic-musical principle. The boy, moving in this
- musical dance before the eyes of the spectators. The whole thing was
- and musical development, this was the form taken by education in the
- Greek palæstra. But the musical and soul qualities thus acquired
- wonderfully indeed that the further effect was not only the musical
- result of this, one might hope for a musical, spiritual quality to
- out of the Cosmos, great Ideas are revealed to man. Just as music was
- not considered to depend upon a specifically musical training but was
- Title: Education: Lecture III: Greek Education and the Middle Ages
Matching lines:
- ‘child’ was preserved in man till death. Music proceeded
- Title: Education: Lecture IV: The Connection of the Spirit with Bodily Organs
Matching lines:
- in the sense in which I showed that music proceeded from it, was
- Title: Education: Lecture V: The Emancipation of the Will in the Human Organism
Matching lines:
- was a revelation of the WORD. And in its weaker division, in musical
- WORD in music worked in the Greek dances. The spirit worked into the
- Title: Education: Lecture VII: The Rhythmic System, Sleeping and Waking, Imitation
Matching lines:
- a musical quality,
- must himself feel and experience this ‘musical’ quality.
- musical element that true rhythm may prevail in the class-room. He
- to the child is pervaded by a musical, rhythmic quality, so that by
- the child should be encouraged to learn some kind of musical
- the teacher can experience in beautiful forms, in music, the more he
- Title: Education: Lecture IX: Arithmetic, Geometry, History
Matching lines:
- later from the earlier seems to him like so much unmusical strumming
- Title: Education: Lecture X: Physics, Chemistry, Handwork, Language, Religion
Matching lines:
- call forth in man to a greater extent the elements of feeling, music, or
- of speech, but also the inner, musical, soul element of the language.
- Title: Education: Lecture XI: Memory, Temperaments, Bodily Culture and Art
Matching lines:
- musical instruction with song, but leading on more and more to instrumental
- musical instruction is not only a means of unfolding his artistic
- instrumental music in order that the child may learn to distinguish
- the pure element of music, rhythm, measure, melody from everything
- else, from imitative or pictorial qualities of music and the like.
- musical element. By leading the child into the sphere of art, by
- if we realize that it develops, musically as it were, from organs
- organic structures connected with the element of music.
- Title: Human Values in Education: Lecture IV
Matching lines:
- sensation, tends in its organisation towards the musical nature
- child whose soul life is healthy is inwardly deeply musical.
- Every healthy child is inwardly deeply musical. We have only to
- call up this musicality by making use of the child's natural
- the plastic and pictorial arts and also of the art of music.
- introducing the child to music we form the astral body. But
- Title: Human Values in Education: Lecture V
Matching lines:
- given to music, so much to gymnastics, so much to going for
- Title: Human Values in Education: Lecture VIII
Matching lines:
- The ether body is a sculptor, the astral body a musician. Its
- structure is of the very essence of music. What proceeds from
- musical in its nature. Anyone able to grasp this knows that in
- must develop receptivity towards an inner musical conception of
- the world. Those who are unmusical understand nothing whatever
- fashioned out of music. If therefore we study old epochs of
- culture which were still built up out of inner musical
- which even language was imbued with music, then we shall find a
- musical conception of the world entering even into the forms of
- made to go back again in this respect. Musicians have sensed
- the music underlying the forms of the Goetheanum. But generally
- and anatomical form is a musical creation in so far as it stems
- from the astral body. Think how intimately a musical element is
- of the blood. Man is a musical instrument in respect of his
- musical structure. The ratio 4:1 is the expression of something
- his form. Whoever understands the human being from a musical
- the musical intervals He hidden within us. And those who only
- constituted out of musical tones. Coming to the hand, we have
- comparatively late in the development of music. The experience
- just as man experiences the inherent nature of music, so the
- Maximum number of matches per file exceeded.
- Title: Human Values in Education: Lecture IX
Matching lines:
- Geometry, Astronomy or Astrology, and Music. To take one
- music enabled the pupil to gain a deeper experience of the
- Title: Kingdom of Childhood: Lecture 6
Matching lines:
- music from beginning of school life, wind or strings. Teaching of
- musical instrument, an inner musical instrument that resounds up into
- You must have a feeling that the child is a musical instrument while
- teaching singing or music with the clear feeling: every child is a
- musical instrument and inwardly feels a kind of well-being in the
- circulated. That is inner music. To begin with, in the first seven
- experiences, provided of course that the music is good. So you must
- really call forth a feeling for music in his whole organism, and you
- one must understand something of music. But an essential part of
- lessons in music right from the very beginning, and at first, as far
- come to feel what it means for their own musical being to flow over
- and will thereby gradually come to understand music. Admittedly, it
- child learns the violin, when the actual processes, the music that is
- within him, is directly carried over and he feels how the music in
- remember, you should begin giving these Music and Singing lessons as
- and Music, as soon as the child comes to school, and that you see to
- Title: Young Doctors Course: Lecture VI
Matching lines:
- hearing of musical tones, melodies. Inspiration has nothing
- like the cognition, the realization of music. Music must not
- something musical about it. It is a strange fact that the
- of the air, has something of the nature of music about it,
- just as the musical element is at the basis of the Chladnic
- Title: Young Doctors Course: Easter Course: Lecture II
Matching lines:
- when you can apply the laws of music. From music you learn an
- activity, he is built up, in reality, like a musical scale.
- Title: Young Doctors Course: Appendix: Evening Gathering with Young Medical People
Matching lines:
- go on to the aeriform man you will need a musical principle.
- the plastic element into the musical element and the musical
- Title: Curative Education: Lecture 5
Matching lines:
- orchestral music, merely in order to avoid repeating eternally the
- Title: Pastoral Medicine: Lecture 2
Matching lines:
- of it in musical forms. For instance, there is a musical character to
- dynamics, but only from musical insight. We find the interval of the
- are two thirds in music, a larger and a smaller. And so on. In short,
- obliged to bring a musical understanding to it.
- Title: Broken Vessels: Lecture 2
Matching lines:
- of it in musical forms. For instance, there is a musical character to
- dynamics, but only from musical insight. We find the interval of the
- are two thirds in music, a larger and a smaller. And so on. In short,
- obliged to bring a musical understanding to it.
- Title: Art of Healing: Lecture II
Matching lines:
- of music upon the human organisation, if we know the intimate
- connection that exists between our experience of music and the
- soul in music itself, and study the measure of our feelings
- first to be directly connected in musical experience with
- the experiences you can have in connection with music. If you
- Title: Light Course: Seventh Lecture
Matching lines:
- phenomena of sound and of musical tone. Even as we ourselves with
- the string of a musical instrument gives out a note. We make the
- constructed musical instrument with the sound or tone that comes to
- Title: Light Course: Eighth Lecture
Matching lines:
- ‘pitch’ of a musical note. A note contains three
- sound or a musical note, there is always some oscillatory
- Title: Light Course: Tenth Lecture
Matching lines:
- tone for instance. In sound or in musical tone, the very way man is
- Title: Warmth Course: Lecture IX
Matching lines:
- apparatus as compared to the ear of the musician, as compared to the
- revelation of nature that is given us in the musician's ear itself.
- Title: Warmth Course: Lecture XIV
Matching lines:
- reflection of an inner world music. This inner world music reveals
- our terrestrial music. Music should never be so conceived that we
- Title: Boundaries of Natural Science: Lecture IV
Matching lines:
- him, he heard in the distance a musical motif. Hearing this musical
- motif in the moment reminded him of the music he had heard as a young
- there lived in his subconscious not only this musical motif but also
- book, he had not been conscious that in the distance a music box was
- playing. Even the sounds of the music box had remained unconscious at
- webs that are nothing but the forgotten melody of the music box. One
- melody of the music box.
- Title: Boundaries of Natural Science: Lecture V
Matching lines:
- weaving in a cosmic music. I cannot describe it otherwise. One unites
- with this weaving in a toneless music in a way similar to that by which
- in childhood. This weaving in a toneless music provides the other, rigorously
- unrest, an inner unrest that exhibits a musical quality when one enters
- when the musical element one experiences there becomes a kind of wordless
- of a kind of toneless music. Then out of this experience of toneless
- music there arises something which, when experienced, enables us to
- toneless music and no longer merely perceives the speech of the
- resides consciously when he achieves an experience of the toneless musical
- The Birth of Tragedy out of the Spirit of Music,
- resounds a readiness to undergo initiation, to enter the musical, the
- The Birth of Tragedy out of the Spirit of Music,
- of music. And he entered further and further into this realm. As I said,
- proceed from music to the inner word, to inner being, culminated in
- the most unmusical of ideas — that of “the eternal recurrence
- Title: Boundaries of Natural Science: Lecture VI
Matching lines:
- musical element to a merger with an individuated element of being occurs.
- Title: Boundaries of Natural Science: Lecture VII
Matching lines:
- musical. One unites one's own soul forces with the aphorisms, so that
- strives for Imagination. It is no longer the experience of the musical
- Title: Golden Blade, 1962: Lecture 1: Natural Science and Its Boundaries
Matching lines:
- he experienced the sayings themselves as music, made
- musical element in mantric sayings is not the aim to which we,
- Title: Boundaries of Natural Science: Lecture VIII
Matching lines:
- only a kind of musical score that one must read with inner thought activity
- Title: Golden Blade, 1962: Lecture 2: Paths to the Spirit in East and West
Matching lines:
- sense the book is only a kind of musical score, to be read with
- Title: Anthroposophy Science: Lecture II
Matching lines:
- in us when we listen to music, one can see the relationship
- Title: Development of Thought: Lecture 2
Matching lines:
- spiritual life, in Wagnerian music, in the cult of Nietzsche, everywhere
- musical dreams, the latter suffers through what is taking place in the
- Title: Origins/Natural Science: Lecture IV
Matching lines:
- mathematically so much as lyrically. There is something musical in
- Title: Social Future: Lecture IV: Cultural Questions, Spiritual Science, Art, Science, Religion
Matching lines:
- which as music will one day resound within it; with those mystery
- Title: Book of Revelation: Lecture Two
Matching lines:
- through the universe as the music of the spheres, in the cosmic
- music and then went to sleep still under the impression of this
- music, and then woke up again in the midst of your sleep. Maybe
- Title: The Apocalypse: Lecture II
Matching lines:
- through the world as the music of the spheres, and which lives
- follows. Most of you have probably heard some music on a day
- Title: Book of Revelation: Lecture Six
Matching lines:
- In music we have the seven notes with the octave, the eighth,
- differently in the musical scale; music would become
- Title: The Apocalypse: Lecture VI
Matching lines:
- numbers. Just think what this means. In music we have an octave
- one would divide up the musical scale in a different way,
- — the music would become unbearable, and so on.
- Title: Book of Revelation: Lecture Eight
Matching lines:
- accordance with the secret of numbers. Just as the musician
- Title: The Apocalypse: Lecture VIII
Matching lines:
- or it would be better to say that he feels them like a musician
- Title: Book of Revelation: Lecture Seventeen
Matching lines:
- music will arise. This is how the initiate sees the spreading
- well be musical sound.
- musical sound reaches into the sphere of the
- And it is similar with musical sounds, with heat and cold, with
- Title: The Apocalypse: Lecture XVII
Matching lines:
- quiet; then listen to its modulation — and musical things
- Title: Health and Illness I: Lecture III: The Formation of the Human Ear
Matching lines:
- piece of music, but you would not be able to remember what you
- Title: Star Wisdom: Lecture I: Star Wisdom, Moon Religion, Sun Religion
Matching lines:
- abundant evidence that the Jews have a great talent for music; but on
- of sculpture. The Jews have always been, and are by nature, a musical
- Title: Star Wisdom: Lecture II: The Easter Festival and Its Background
Matching lines:
- and musical toys, singing the words:
- Title: Star Wisdom: Lecture III: Characteristics of Judaism
Matching lines:
- if a Jew becomes a musician he will generally be a very fine one,
- because music is not a pictorial art; it does not take visual form.
- And so you will find great musicians among the Jews but — at
- Title: Evolution, Earth, Man: Lecture XI
Matching lines:
- table; sentimental music, or perhaps the singing of a hymn, puts them
- Music continues. The people begin to convey their vibrations to the
- of the delicate vibrations produced through the music and the
- Title: Man/Being/Spirit/Soul: Lecture II: The Psychological Expression of the Unconscious
Matching lines:
- musical nature, that comes to expression in the most varied
- Title: Story/Green Serpent/Beautiful Lily: Lecture II
Matching lines:
- The Music of the Spheres, of the planets, rhythmically
- Title: Lecture: The Mystery of the Human Temperaments
Matching lines:
- musical family musical talent is inherited, etc. That is all supposed
- Title: Lecture: Richard Wagner and Mysticism
Matching lines:
- And the significant thing is that he expressed it from the musician's
- point of view, indicating thereby that to him music or art was far
- element of life. He speaks in a wonderful way about symphonic music.
- He regarded symphonic music as a veritable revelation from another
- symphonic music are so firmly rooted in his being that no intellectual
- are talking about, speak of music. The Music of the Spheres
- in spite of what superficial philosophy may say. The Music of the
- world is designated as that of the Music of the Spheres. It is a
- To Richard Wagner the tones of outer music were an expression, a
- revelation of an inner music, of spiritual sounds and harmonies which
- pervade the created universe. He felt the reality of this music and
- connection with instrumental music (Eine Pilgerfahrt zu
- later on broke off along their several paths. Music and dramatic
- give birth to his musical dramas. To him, there were two supreme
- if a musician must limit himself to tones. In Beethoven's Ninth
- expressed dramatically, must be contained in the music. That which the
- music cannot express must be contained in the drama. Richard
- in art. When he tells us in his own words that symphonic music is a
- organs of creation, we can well understand why in his musical dramas
- action and the music albeit in a form not always understood. I
- Maximum number of matches per file exceeded.
- Title: Polarities in Evolution: Lecture 5: How the Material Can Be Understood Only through the Spirit
Matching lines:
- background to gravity. I hear the music of the spheres
The
Rudolf Steiner e.Lib is maintained by:
The e.Librarian:
elibrarian@elib.com
|