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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: Popular Occultism: Lecture 2: Man's Ascent into the Supersensible World
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  • spoke of the music of the spheres; this was not a fantastic invention,
• Title: Popular Occultism: Lecture 7: Effects of the Law of Karma
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  • 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: "Heaven and Earth will pass away but my words will not pass away"
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  • 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
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  • (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: World Downfall and Resurrection
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  • books as musical scores out of which he can gain the
  • music.
• Title: Meditative Knowledge of Man: Lecture II: The Three Fundamental Forces in EducatioN
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  • 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
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• Title: Meditative Knowledge of Man: Lecture III: Spiritual Knowledge of Man as the Fount of Educational Art
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  • 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
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  • 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: Leonardo's Spiritual Stature: Lecture
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  • 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: The Worldview of Herman Grimm in Relation to Spiritual Science
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  • enthroned like an Olympian, a musical instrument in his hands,
• Title: Impulse for Renewal: Lecture IV: Anthroposophy and Pedagogy
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  • account that music must appear early in education while this
• Title: Impulse of Renewal: Lecture VII: Anthroposophy and the Science of Speech
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  • 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: First Class, Vol. I: Lesson 1
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  • art in general and music. It wreaks its havoc in the schools
• Title: First Class, Vol. I: Lesson 7
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  • 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: Lesson XXIII (recapitulation)
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  • the music of the spheres. Therefore, the Guardian of the
• Title: Lecture: Richard Wagner and Mysticism
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  • 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
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• Title: Polarities in Evolution: Lecture 5: How the Material Can Be Understood Only through the Spirit
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  • background to gravity. I hear the music of the spheres