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Query was: outer

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: Lecture I
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  • man is able to exclude all memories and experiences of the outer
• Title: Lecture: Inner Nature of Music: Lecture II
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  • increasingly clear to us how the outer facts of our surroundings can
  • because outer things call forth mental images in the human senses,
  • image. There is one thing perceptible to man for which no outer
  • impression is needed, and this is man himself. All outer things are
  • any influence on the outer world, we experience will, we ourselves
  • outer tones correspond with those within.
  • consciousness arises through a kind of overcoming of the outer world.
• Title: Lecture: Inner Nature of Music: Lecture III
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  • Imperceptible to the outer senses, this “I”-body
  • whirring of its wings, are outer sounds; it is not the soul that
  • way we see how man's outer nature is connected with his inner
• Title: Lecture: Inner Nature of Music: Lecture IV
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  • bears within himself but everything surrounding him in outer nature
• Title: Lecture: Inner Nature of Music: Lecture V
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  • does not have a subject that exists in the outer physical world such
  • only with something for which there are outer subjects. This explains
  • connection with the outer world in the same way as does the eye, for
  • the outer world, even artistic forms. The eye is important to a
  • experiencing, without having a relationship to the outer world such
  • being. The ear is not a link to the outer world — the
  • produced along with some outer tone, an outer tone structure.
  • wandering around. He could only experience a tone composed of outer,
  • spiritual, outer “I.” When octaves are employed in the
  • The contra-tones below only serve the purpose of allowing the outer
  • outer world rejects it. This is where the musical element leaves the
• Title: Lecture: Inner Nature of Music: Lecture VI
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  • experiences the transition from inner to outer experience. One
  • experience of the fifth of the outer world and the experience of the
  • being, however, senses not the outer world but the spiritual world in
  • outer instrument in order to be objectively certain of the fourth.
  • himself when he sang, and at the same time he had an outer
  • this reason, music has no direct equivalent in outer nature. In
  • thinking; feeling becomes serene and purified. All outer aspects are
  • on the stream of breath — and therefore in an outer slackening
  • element, however, he needs something that does not exist in outer
  • nature. Outer nature offers him no equivalent to the musical element;
• Title: Lecture: Inner Nature of Music: Lecture VII
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  • the outer sense perceptions, therefore ruling with the particular
  • him as objective outer world. This came about only gradually in human