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Query was: ear

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• Title: Lecture: Inner Nature of Music: Cover Sheet
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  • lectures appearing here were published in the German volume, Das
• Title: Lecture: Inner Nature of Music: Foreword
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  • early post-Atlantean period man's experience of the interval
  • for the later part of the year 1924 could not take place due to the
  • research into the spiritual world.”
• Title: Lecture: Inner Nature of Music: Editors Note
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  • English language is not nearly so flexible in this respect; in
• Title: Lecture: Inner Nature of Music: Back Cover
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  • musician thus stands closer to the heart of the world than all other
  • the ear (“merely a reflecting apparatus”) but with the
  • earlier philosophical principles into an approach to methodical
  • research of psychological and spiritual phenomena. In 1913 he founded
  • research out of his trained seership for the renewal of twentieth
• Title: Lecture: Inner Nature of Music: Lecture I
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  • a luminary of the nineteenth century, brought clear and well-defined
  • ideas to bear on art. He placed music in an unique position among the
  • tenet: Life is a disagreeable affair; I attempt to make it bearable
  • yearning for the higher thus dwells in everything.
  • engaged with tone, he puts his ear to the very heart of nature
  • innermost essence of things. Because man feels himself near to this
  • human being from earliest childhood, becomes comprehensible to us
  • world. Man gradually learns to see what is called the astral body of
  • student on the path of spiritual training learns to acquire
  • unconscious. He now learns to be conscious in a world about which he
  • consciousness, man develops the faculty to hear spiritually and to
  • physical ear. This world is called Devachan.
  • one should not believe that when man hears the world of tone welling
  • element down with him and thus hear the tone element in the physical
  • soul experiences Devachan between two incarnations on earth, then we
  • music that resounds here in the physical world and hearing spiritual
  • that we have made this clear, we will try to grasp the effect of
  • hears music, a clairvoyant can perceive how the tones flow, how they
  • hears music, the impression is experienced first in the astral body.
  • perceives the heartbeat of the will of the world.
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• Title: Lecture: Inner Nature of Music: Lecture II
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  • increasingly clear to us how the outer facts of our surroundings can
  • period of 250 years, nearly thirty members of this family exhibited
  • music appears to be something quite special. Music has always
  • something that is light. Likewise, the ear can sense only tone
  • and he searches for an archetype, he does not focus on a single human
  • the human heart lies the capability of thinking things through to the
  • expression. The musician hears the pulse of the divine will that
  • flows through the world; he hears how this will expresses itself in
  • tones. The musician thus stands closer to the heart of the world than
  • nearer the heart of the world and is a direct expression of its
  • as the world surrounding us that appears to us as reality. Once a
  • acquainted with this wonderful world. He learns to be conscious in it
  • with a consciousness as clear — no even clearer — than
  • astral body and learns to live in it consciously. The basic
  • day-consciousness, and he learns to see these beings in everyday life
  • man learns to enter shows itself to him at first only partially, but
  • transparent, and the light becomes ever clearer and at the same time
  • appears.
  • must bear in mind that not only the initiate lives in these worlds.
  • existed. With the dense, earthy colors of our physical world,
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• Title: Lecture: Inner Nature of Music: Lecture III
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  • how, in the same way that a man's shadow appears on the wall, a
  • family within a period of 250 years and that the mathematical talent was
  • an individuality who lived on earth some fifteen or sixteen hundred
  • years ago, when the human being was constituted quite differently. In
  • configuration of the ear. All musical talent is meaningless if a
  • person does not have a musical ear; the ear must be specially adapted
  • son, father, and grandfather, all of whom had musical ears. Just as
  • proportions of the ear.
  • in bodies possessing a musical ear? These individualities would have
  • family with a musical ear, with a bodily predisposition that will
  • years in Devachan, if a suitable physical body is available on the
  • individuality will make up the 200 years during his next time in
  • cut short or extended depending on the circumstances on earth that
  • physical plane. Man has an individual soul here on earth, whereas the
  • ancestors who existed on earth millions and millions of years ago
  • plane of the earth at that time, there was a kind of strangely shaped
  • higher animal, of which nothing remains any longer on the earth
  • a whirling cloud of dust spirals up from the earth and a rain cloud
  • The sentient body of this animal living below on earth — man's
  • body existed a million years earlier, they would have been able to
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• Title: Lecture: Inner Nature of Music: Lecture IV
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  • I pointed out that certain human functions appearing in early childhood
  • are transformations of functions that man carries out in pre-earthly
  • child not fully adapted to the earth's gravity and equilibrium
  • equilibrium, how it learns to stand and walk upright. The body's
  • adaptation to the condition of equilibrium of earthly existence is
  • something the human being acquires only after life on earth has
  • earthly organism — does not yet contain the faculty of walking
  • gravity of earthly existence.
  • pre-earthly existence, orientation does not refer to walking and
  • standing as it does here on earth. There, orientation refers to the
  • certain extent when man descends to earth. In the mother's
  • life nor yet in that of his earthly life. He has left the former and
  • earth is adjusted in every respect to earthly conditions, for this
  • language is an expression of our earthly thoughts. These earthly
  • thoughts contain earthly information and knowledge, and language is
  • adapted to them during earthly existence. In pre-earthly existence,
  • inhalation, inspiration, something in pre-earthly existence that we
  • we descend to the earth, we lose this life within the universal
  • thoughts, our earthly thoughts, and the human intellect, that is, the
  • intellect among all human beings dwelling on earth. It is the same
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• Title: Lecture: Inner Nature of Music: Lecture V
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  • (trans. Gustav Cohen, Indianapolis: Bobbs-Merril, 1957), first appeared in
  • octave appears. One cannot actually distinguish it any longer from
  • octave appears in a musical composition, man will have a feeling that
  • becomes clear that the musical experience at first does not have the
  • relationship to the ear that is normally assumed. The musical
  • experience involves the whole human being, and the ear's
  • statement, “I hear the tone or I hear a melody with my ear.”
  • consciousness through the ear in quite a strange way. As you know,
  • air. The ear is the organ that first separates the air element from
  • thus actually feel a resonance, a reflection. The ear really hurls
  • it separates out the air element; then, in that we hear it, the tone
  • lives in the ether element. It is the ear's task — if I
  • back into our inner being. The ear is a reflecting apparatus for the
  • than other experiences, because for musical experience the ear is
  • only a reflecting organ; the ear does not actually bring man into
  • painter, not merely to someone who looks at nature. The ear is
  • as the eye has, for instance. For the musical element, the ear is of
  • first of all as nerve man, because the ear is not important as a
  • being. The ear is not a link to the outer world — the
  • sense being, and his ear also has significance as a sense organ, but
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• Title: Lecture: Inner Nature of Music: Lecture VI
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  • hearing). Though man is not conscious of it, the sensation he
  • fifth that still existed, let us say, four to five hundred years
  • earlier than the objective experience of the fourth. The experience
  • appeared to man at first as imaginations. Musical instruments were
  • spoke of cherries and grapes one used earthly words; if one spoke of
  • mentioned earlier, the fact of the twelve fifths in the seven scales
  • earlier ages, the relationship of musical man to his instrument must
  • being an abstract sign. When you hear the ringing of the dinner bell,
  • adapting himself to the earth, man finds his way into what can be
  • but it is not a mental image; it clearly takes its course in the life
  • feeling. It is as if you brought the heart into the head through
  • during the first year of school — at most also fourths, but not
  • nine years old with the rhythm that is experienced, for example, in
  • breathing and the heartbeat, the circulation of the blood. One thus
  • can say that while the melody is carried from the heart to the head
  • waves of the blood circulation from the heart to the limbs, and in
  • musical development more clearly than anywhere else. As I already
  • appear in our tone eurythmy. You will also grasp something else. You
  • is why you hear everywhere that in the older mystery schools and
  • and goes without saying — I find the element that appears as
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• Title: Lecture: Inner Nature of Music: Lecture VII
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  • thousand years. We have already discussed this event repeatedly from
  • research that, up into the fourth century A.D.,
  • flowed out” — our earthly terms are ill-suited for these
  • form, the forces or beings of form. They are the bearers of cosmic
  • intelligence, they are the bearers of cosmic thoughts. They let
  • processes are incorporated that appear outwardly to man as natural
  • eyes see and what ears hear, the manifold world phenomena engaged in
  • because this human soul surrendered itself to the earth. You perhaps
  • will understand this more clearly if we shed light on it from yet
  • live one level nearer man than the Exusiai. Now, when man begins to
  • formerly they were located behind the appearance of things; they
  • which the seventh was the smallest. They missed hearing thirds and
  • had something to do with the appearance of the interval of the
  • the third appeared in the musical element — both major and
  • third and the appearance of major and minor keys, the musical
  • bearer of his physical and etheric bodies. In a manner of speaking,
  • man withdraws his experiences as a bearer of his physical and etheric
  • physical and etheric bodies. I interweave my earthly existence with
  • this specific area you can see how cosmic experience draws near to
  • to earlier ages, we must seek in the super-sensible for the most
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