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Query was: thing

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• Title: Lecture: Inner Nature of Music: Editors Note
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  • which permits qualities and essences to be spoken of as things,
• Title: Lecture: Inner Nature of Music: Back Cover
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  • everything in the physical world.”
• Title: Lecture: Inner Nature of Music: Lecture I
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  • those who care to reflect on it, music has always been something of
  • yearning for the higher thus dwells in everything.
  • intimate relationship to the Thing-in-Itself and penetrates to the
  • innermost essence of things. Because man feels himself near to this
  • the musician composes, he cannot imitate anything. He must draw the
  • soul, he ascends step by step. The first thing he experiences is a
  • he has experienced something new. It is as if he emerged from an
  • ocean of light and colors unlike anything he has known in the
  • recalls that in this world of light and color there were things and
  • formerly knew nothing. This new world is not one of light and colors
  • A tone lies at the foundation of everything in the physical world.
  • with certain musical sounds, something of the astral body flows into
  • the innermost core of things, which is so closely related to him.
• Title: Lecture: Inner Nature of Music: Lecture II
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  • those who have sought to penetrate deeply into the nature of things,
  • music appears to be something quite special. Music has always
  • view, which held that everything surrounding us is only a reflection
  • because outer things call forth mental images in the human senses,
  • enabling man to relate to the things themselves. Man can know nothing
  • something that is light. Likewise, the ear can sense only tone
  • everything observed by man as the world around him reflects itself
  • image. There is one thing perceptible to man for which no outer
  • impression is needed, and this is man himself. All outer things are
  • experience only one thing within ourselves in an immutable manner:
  • another, and so on. He takes note of everything that represents
  • the human heart lies the capability of thinking things through to the
  • completely attain her intentions, presenting us with something of a
  • something very significant there.
  • a still higher plane of Devachan, tone becomes something akin to
  • time, but he knows nothing about it, because he is conscious neither
  • however, he is unable to reproduce anything close to the ideal that
  • great art there are wonderful things that are much more
  • to surround its forms; it does not wish to absorb anything from
  • need not know this. A sense of musical pleasure is based on nothing
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• Title: Lecture: Inner Nature of Music: Lecture III
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  • receive various answers to important questions about karma. Something
  • nothing directly to do with the inheritance of musical talent.
  • Something extremely significant took place during that period. Man's
  • higher animal, of which nothing remains any longer on the earth
  • esoteric term for it is “water.” Everything fluid —
  • element of warmth. At the beginning of the Atlantean age, something
• Title: Lecture: Inner Nature of Music: Lecture IV
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  • something the human being acquires only after life on earth has
  • inhalation, inspiration, something in pre-earthly existence that we
  • Word of the universe, the universal language, from which all things
  • gratifying artistic event, let me say something about the connection
  • bears within himself but everything surrounding him in outer nature
  • and vowels. Everything brought out in speech is composed of the
  • M is based on something having a definite form in our body. In
  • When one speaks of consonants, one always feels something that is
  • the breathing process unites with the movements taking place along
  • activity. Nerve activity and breathing activity are not isolated from
  • nervous system; he dwelt more in the breathing system, and for this
  • system he draws back into the stream of breathing when he sings
  • (sketched in yellow), the stream of breathing. When vowel sounds are
  • of breathing extends into the head and is directly activated from
  • breathing process.
  • poet still makes an effort to retain the rhythm of breathing in the
  • composes songs takes everything back into breathing, and therefore
  • also into the head-breathing. When man shifts from speaking to
  • were closer to the primeval languages that the words for things of
  • all the consonants that are here on earth become something completely
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• Title: Lecture: Inner Nature of Music: Lecture V
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  • something that is supposed to add to a comprehension of this
  • a general foundation, and tomorrow I shall go into a few things that
  • intellectualism wishes to tackle everything, there is a feeling that
  • only with something for which there are outer subjects. This explains
  • appreciation does tone physiology (acoustics) have anything to say
  • something new. The other feeling that will come about but as yet does
  • octave will be something completely different and will one day be
  • things can be understood, understood with feeling, only if one
  • normally assumed. Nothing is more incorrect than the simple
  • experience in tone, however, no longer has anything to do with the
  • they have no significance. Everything that lives in the limbs as
  • Something
  • world that we had within us as embryos. Everything else is added. The
  • because the matter reaches the etheric. Everything in man's
  • of the experience of breath due to the change in my breathing. The
  • the breathing process within. Based on all this, you find a specific
  • whole experience naturally penetrates today into everything musical.
  • major and minor third. This is something that appears between ages
• Title: Lecture: Inner Nature of Music: Lecture VI
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  • man believed that he lived and wove in something etheric. With the
  • experience of the fifth was still pure. Song was indeed something
  • interval of the fifth. Naturally, he must experience something empty
  • peculiar thing about the musical element is that neither must it
  • be something musical the moment it was taken hold of by the brain's
  • to ordinary day-consciousness but that has something to do with that
  • otherwise formed. Melody contains something akin to mental images,
  • all sorts of things. Just as the child should comprehend only fifths
  • attention be called to these things. In the sphere of music, too, the
  • breathing and the heartbeat, the circulation of the blood. One thus
  • etherically before us. The musical experience is nothing else than
  • you take these things as they are, you can ponder, for example, over
  • it comes to acoustics, or tone physiology, there is nothing to be
  • appear in our tone eurythmy. You will also grasp something else. You
  • element, however, he needs something that does not exist in outer
  • nature, the limb system. Also, however, everything connected with the
  • indeed so in Bruckner's case. It proves that something of the
  • are the things that I wished to tell you today, though in a
• Title: Lecture: Inner Nature of Music: Lecture VII
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  • could offer one of the time spent during sleep. Everything the
  • would discover nothing of the things around us through thoughts if
  • that dwell in all things. Our organ of thinking is simply something
  • Exusiai. Such things happen in the super-sensible world. This was a
  • cosmic forces over everything existing in the world of colors, tones,
  • thoughts were objectively perceived in all things. Just as today we
  • things, just as red or blue streams forth. In my book,
  • Such things
  • century, which is mentioned so as to pinpoint something definite in
  • nothing of the relationships that are to be considered here.
  • formerly they were located behind the appearance of things; they
  • element as something that occurs around or within him. The moment he
  • had something to do with the appearance of the interval of the
  • meaningful thing for them to say was, “I live in music made by
  • impression of being something external that lacks content. Man
  • experiences something empty in the fifth, though in a positive sense
  • something like an objective major and minor mode, not one experienced
  • is something that sounds forth to us from the wonderful knowledge of
  • such and such a thing. Human beings actually heard how, in primeval
  • itself to us by this inner unity of everything that man, perceiving
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