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Query was: third

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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  • experience of the third, we now perceive the fifth to be empty. This
• Title: Lecture: Inner Nature of Music: Lecture II
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  • which presents simple daily experiences to man in symbols. The third
  • attains the third state of consciousness when he is capable of
  • becomes more and more pronounced when man approaches the third state
  • with resounding tones. In this third state of consciousness that man
  • predominates over the sentient body. When the minor third is played,
  • but when the major third resounds, it announces the victory of the
• Title: Lecture: Inner Nature of Music: Lecture III
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  • blood, for instance, is called “water.” Third, we have
• Title: Lecture: Inner Nature of Music: Lecture V
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  • 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
  • exists for a fifth or a third is absent for an octave. Of course, we
  • is it that man today has an experience of the third? Why is he only
  • experience. All musical forms, however, in which the third and what
  • transition to the experience of the third actually can be traced back
  • of the third signifies at the same time that man feels music in
  • possible to say this only when the experience of the third emerged,
  • until man could experience the third did the subjective element feel
  • of the third. The difference between major and minor keys appears;
  • that the experience of the third begins during the fourth
  • level. The third guides us to our inner being; the octave leads us to
  • exhalation. The third enabled man to experience the continuation of
  • same manner as seventh, fifths, and thirds — today's use
  • thirds, but if one really wishes to reach the child, musical
  • appreciation for the whole third-complex sometime after the age of
  • major and minor third. This is something that appears between ages
• Title: Lecture: Inner Nature of Music: Lecture VI
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  • by the third and the seventh. You have been able to gather from this
  • to the experience of the third — in both the major and minor
  • third — we arrive at an inner motion of the human being. The
  • organism; man experiences the interval of the third inwardly. In the
  • transition from a third to a fifth — though there is much in
  • therefore can say that in the case of the experience of the third the
  • universe, while the experience of the third is a return of the human
  • third in man's inner being. The experience of the fourth lies
  • know the third; he descended only to the fourth. He did not
  • corresponds to an imagination while the third corresponds to a
  • thirds; it begins to grasp thirds inwardly only from age nine onward
  • age during which predominantly the third is experienced by human
  • by division to the interval of the third. I therefore also had to
  • is from the age in which the third plays the
  • The sentient soul relates to the minor third, the sentient body to
  • the major third. The facts of human evolution are expressed in
  • the third. Man feels transported in the fifth. In the third he feels
  • fourth; he dwells within himself in the third. Only in the future
  • prime, second and third — by backward movements and in the case
  • the musical element is expressed in the third part of man's
• Title: Lecture: Inner Nature of Music: Lecture VII
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  • intervals of thirds, not even fifths. Their musical experience really
  • which the seventh was the smallest. They missed hearing thirds and
  • the third appeared in the musical element — both major and
  • minor thirds — the musical element submerged itself, as it
  • fifth. In the era of thirds, however, which as you know dawned only
  • the third, therefore, the difference between major and minor keys
  • third and the appearance of major and minor keys, the musical
  • event, passes on to the “era of thirds” and the
  • next higher and the third of the second higher octave. He experienced
  • a kind of objective third, and there he also experienced both major
  • and minor thirds. It is not a third in our sense, of course, because
  • one has an actual third only when I take the prime in the same octave
  • second in the next, third in the third octave — he perceived
  • the fifth to the third, and from the third down to the prime, the