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Query was: feel

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: Inner Nature of Music: Foreword
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  • feeling of emptiness actually is caused, as Steiner explains, by the
• Title: Lecture: Inner Nature of Music: Lecture I
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  • realm of human feeling (Gemüt); on the other hand it also
  • who lives in dim consciousness feels the discontent of the will much
  • innermost essence of things. Because man feels himself near to this
  • essence in music, he feels a deep contentment in music.
  • it feels as if he arose out of a flowing cosmic ocean. He knows that
  • a feeling or intellectual soul [Gemüts-oder
  • physical space we feel all other beings as outside of us. In
  • Devachan, however, we do not feel ourselves outside of other beings;
  • because he feels like a victor over his etheric body by means of his
  • astral body. This pleasurable feeling is strongest when a person is
  • feels in music an echo of what it has experienced in Devachan. The
  • soul feels at home there. Each time he listens to music man senses,
  • music, man feels the echoes of the element that weaves and lives in
  • Because feelings are the innermost elements of the soul, akin to the
  • bodily mediators of feelings no longer exist but where feelings
• Title: Lecture: Inner Nature of Music: Lecture II
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  • though he feels himself borne upward on a surging sea of flowing
  • himself is color and light. He feels himself astrally within this
  • astral world, and he feels afloat in a great, deep peace. Gradually,
  • but he followed them out of his instinctive feeling. We thus see in
  • that the soul feels itself stronger than the body. In the effects of
  • one feels pain in the soul, the predominance of the sentient body,
• Title: Lecture: Inner Nature of Music: Lecture III
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  • Hence, these individualities naturally feel themselves drawn to a
  • feel these “I's” hovering above. They would have
• Title: Lecture: Inner Nature of Music: Lecture IV
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  • unites with soul. We feel that in speaking we have an essential
  • When one speaks of consonants, one always feels something that is
  • adding the consonant element. Surely you can feel how a soul quality
  • intonation of vowels, to a greater degree. He no longer feels that
• Title: Lecture: Inner Nature of Music: Lecture V
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  • intellectualism wishes to tackle everything, there is a feeling that
  • age occupies a position between two musical feelings [Empfindungen];
  • one such feeling it already has, the other not yet. The feeling that
  • feeling for the interval of the third. In history we can easily trace
  • how the transition from the feeling for the fifth to the third came
  • about in the world of musical feeling. The feeling for the third is
  • something new. The other feeling that will come about but as yet does
  • not exist in our age is the feeling for the octave. A true feeling
  • experience the difference that exists in comparison to feelings for
  • do have a feeling for the octave, but this is not yet the feeling
  • that will be developed in time; in the future the feeling for the
  • octave appears in a musical composition, man will have a feeling that
  • anew; I am uplifted in my humanity by the feeling for the octave.”
  • is the feeling that is evoked.
  • things can be understood, understood with feeling, only if one
  • thus actually feel a resonance, a reflection. The ear really hurls
  • man feeling completely transported [entrückt]. He felt
  • have said, “I experience music,” as “I feel myself
  • feeling for f and c is missing; instead, the fifths throughout the
  • transporting quality. Such music made a person feel as if he were
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• Title: Lecture: Inner Nature of Music: Lecture VI
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  • of himself; with the feeling for the fifth, man actually feels
  • experiences with the fourth is based on feeling that man himself is
  • perception within man's being. Today, therefore, man feels an
  • human feeling. What is expressed in harmonies is experienced by human
  • feeling. Now, feeling passes into thinking [Vorstellen].
  • thinking, in its relationship to feeling and willing.]
  • In looking at the human being, we can say that we have feeling in the
  • middle; on the one hand we have the feeling that passes into
  • thinking, on the other hand we have the feeling that passes into
  • willing. Harmony directly addresses itself to feeling and is
  • actually twofold. We have a feeling that is more inclined to thinking
  • — when we feel our thoughts, for instance — and we have a
  • feeling more inclined to willing. When we engage in an action, we
  • feel whether it pleases or displeases us; in the same way, we feel
  • pleasure or displeasure with an idea. Feeling is actually divided
  • feeling up to that of thinking. You do not find what is contained in
  • of feeling. It tends upward, however, so that the feeling is
  • accessible to feelings. Otherwise, the head is only open to the
  • concept. Through melody the head becomes open to feeling, to actual
  • feeling. It is as if you brought the heart into the head through
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• Title: Lecture: Inner Nature of Music: Lecture VII
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  • feeling. We have described in different words what human beings
  • It is the fact that human beings feel themselves more and more in
  • tone of c-sharp or g. Since this transference of thoughts, man feels
  • began with feeling the sevenths. They then felt further intervals, of
  • perceives the musical element he feels transported out of his body
  • experience of the seventh did not make them feel that they themselves
  • present-day feeling for the fifth. Today, the fifth gives man an
  • were, into human feeling [Gemüt]; hence, man no longer
  • into the universe. What today wells up in his life of feeling
  • all had the same feeling born out of their knowledge and their
  • feeling experienced in a melody one day will be discovered in the
  • shaken we are able to feel what a profound person could feel in