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Query was: real

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• Title: Lecture: Inner Nature of Music: Editors Note
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  • lectures, particularly the four later lectures, the almost ethereal
• Title: Lecture: Inner Nature of Music: Back Cover
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  • 1923, Steiner penetrates with esoteric insight into the realities
• Title: Lecture: Inner Nature of Music: Lecture I
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  • realm of human feeling (Gemüt); on the other hand it also
  • idealized reality of the human world. The same is true of painting,
  • in which today (1906) only an immediate impression of reality is
  • of reality. One who wished to apply this approach to music, however
  • from the realm of existence in which music has its true prototypes.
  • realm. His next step is to take that world with him into the daily
  • the human being. He experiences a world that is much more real than
  • tone. On this basis, Paracelsus said, “The realms of nature are
  • the physical world is a shadow, a real shadow of the much loftier
  • reality.
  • toward the astral realm, is the sentient body
  • realm have been called “the world of permeability.”
  • permeated with the vibrations of the Devachanic realm; he has these
• Title: Lecture: Inner Nature of Music: Lecture II
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  • continuously surrounds the human being. It is a real world, as real
  • as the world surrounding us that appears to us as reality. Once a
  • now approaches, the colorful world of the astral realm in which he
  • are not based on personal experiences of the reality of the world.
  • penetrates the Devachanic world. The essence of the Devachanic realm,
  • region dwell inspired authors. Here they experience a real permeation
  • painter, for example, goes far beyond the reality of colors in the
  • world, and we see how the effects of the astral realm bear
  • outside into itself. An utterly unselfish corporeality, fully pure
  • physical realm.
  • victory of the spiritual over merely animated corporeality
  • astral corporeality, but the world of tone speaks to the innermost
• Title: Lecture: Inner Nature of Music: Lecture III
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  • realize that man's musical gift depends on a special
  • enable them to realize their potential. The family below on the
• Title: Lecture: Inner Nature of Music: Lecture IV
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  • it is really a musical instrument. Indeed, you can comprehend
  • for the vowels. The sculptural instrument of the body is really dead
  • shape. Yet, it is really shaped out of the spiritual, and only
  • in reality to the super-sensible world, and what lives here in the air
  • figuratively, this description is a reality. Imagine the earth,
  • but it is not so, this is a reality; imagine yourself out there in
  • he moves closer to the realm of pre-earthly existence, from whence he
  • which we must sing. Man, as he stands before us, on earth, is really
  • symbolically but in a very real sense. The matters are indeed as I
• Title: Lecture: Inner Nature of Music: Lecture V
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  • the musical element really does not exist in the physical world. It
  • thus actually feel a resonance, a reflection. The ear really hurls
  • really an experience of the whole human being.
  • the earthly corporeality — come into being only in the course
  • really strives to lead man back to what he lost in primeval times. In
  • thirds, but if one really wishes to reach the child, musical
  • of concepts takes place on a level above that of the musical realm.
  • laut]. In the sound of speech, the concept really cancels out the
• Title: Lecture: Inner Nature of Music: Lecture VI
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  • does this really mean in relation to the whole musical experience? It
  • in the divine realm. Man still had imaginations, still had
  • is evidence that the possibility of motion outside the human realm
  • does man really approach himself with the musical element.
  • himself that reached downward, excluding the realm of tones below the
  • into these two realms.
  • realm of willing any more than into that of thinking. In both
  • place within the realm situated between thinking and willing. It must
  • element of melody guides the musical element from the realm of
  • element that reaches up into the same realm where mental images are
  • toward willing. It must not penetrate the realm of willing, however;
  • extends into the realm of willing.
  • musical element really pervades the whole human being.
  • this. The human being really experiences himself as etheric body in
  • Again, the sixth is in between. From this we realize that man
  • case of the fourth. You see, the fourth is in fact a real perceiving,
  • interval of the fifth is a real experience of imagination. He who can
  • experience of the fifth is a real imaginative experience. The same
  • the musical element is as yet quite limited. If it were really to
  • within the material realm. Pure matter was put to use so that the
• Title: Lecture: Inner Nature of Music: Lecture VII
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  • form, how the realms of the physical-etheric world — the
  • mineral, plant, animal, and human realms — continue upward into
  • the realms of the higher hierarchies. We shall now take a closer look
  • or four, realms of nature, namely, the mineral, plant, animal, and
  • human realms. Ascending to those regions that are accessible only to
  • these realms: the realms of the Angeloi, Archangeloi, Archai,
  • glance at what the beings who belong to the super-sensible realm
  • life, as it were, and take the viewpoint of the super-sensible realm.
  • is really implied here? What am I trying to point out so intensely?
  • see supersensibly, he has the following impression. He realizes that
  • the Angeloi, Archangeloi, and Archai; they are really on this side of
  • located beyond this realm; they are concealed by the tapestry of
  • intervals of thirds, not even fifths. Their musical experience really
  • He brings the musical element close to his corporeality. He
  • interweaves it with his corporeality. Along with the experience of
  • again find the way out to the divine-spiritual. In one realm,