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- Title: Lecture: The Ear
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- worlds? I have often spoken of it. The music of the spheres is a
- into the sounds as of a heavenly speech and music.
- music. And the harmonious and dissonant sounds become the Words,
- meaning. Musical experience is already a foretaste, if I may so
- through music, the spatial element scarcely plays a part. There is at
- Title: Education for Adolescents
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- piece of music, for instance. All this must be brought to them in such
- Title: Lecture: The Cosmic Word and Individual Man
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- his organism — continues during sleep itself as a music,
- musical activity continues. And the Ego and astral body, which are
- this — from what they have left behind, the resounding music in
- the etheric body. And while it resounds in music, the etheric body is
- life of the cosmos this particular music, and radiance, and flooding
- phosphorescent glow, this resounding music — it is these that
- been listening again to the same music; as if the whole concert had
- music, which resounds in an individualised form in the human etheric
- music into the recently-experienced earthly sounds. They are in a
- sense the clothing assumed by the cosmic music at the moment of
- cannot perceive the cosmic music, it is clothed in the sounds taken
- gentle phosphorescent glow, this living music, are an outer revelation
- music, which comes from the region of the organs of hearing; the
- living music, the glowing light, the streaming warmth, intermingled
- sounding, this living music, this gently phosphorescent glow, these
- more widely, but growing fainter and fainter, and the music growing
- music; it can no more be perceived by the being of soul and spirit,
- Title: Lecture: Yuletide and the Christmas Festival
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- unrestrained dancing and music. Admittedly there was not yet
- Title: At the Gates: Lecture II: The Three Worlds
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- the world of colours comes the world of musical sounds which in a certain
- the music of the spheres. The heavenly bodies as they pursue their courses
- and we find that everything lives in music. Goethe, as an Initiate,
- Sun and the spheres speak in music:
- of the Sun, which really does sound forth to us in music if we are in
- Title: At the Gates: Lecture III: Life of the Soul in Kamaloka
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- music — but he lacks ears.
- Title: At the Gates: Lecture VI: The Upbringing of Children. Karma.
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- art awakens, particularly for the art of music, so closely associated
- with the vibrations of the etheric body. If any musical talent exists,
- Title: At the Gates: Lecture VII: Workings of the Law of Karma in Human Life
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- were twenty-eight highly gifted musicians in a period of 250 years. Again,
- told; but that is only partially true. In order to be a good musician
- you need more than a musical predisposition in your soul; you need also
- to be found in a family of musicians, and is passed on from one generation
- to the next. In a family, then, where a great deal of music is performed,
- you will find good musical ears, and so when a soul with a strongly
- developed musical talent is to be incarnated, it will naturally not
- choose a family with no interest in music — where it would languish
- Title: At the Gates: Lecture XII: Occult Develpment
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- of Devachan, the Music of the Spheres. Everything speaks forth its own
- Title: Seventh Lecture (First Scientific Lecture-Course)
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- phenomena of sound and of musical tone. Even as we ourselves with
- the string of a musical instrument gives out a note. We make the
- constructed musical instrument with the sound or tone that comes to
- Title: Eighth Lecture (First Scientific Lecture-Course)
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- ‘pitch’ of a musical note. A note contains three
- sound or a musical note, there is always some oscillatory
- Title: Tenth Lecture (First Scientific Lecture-Course)
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- tone for instance. In sound or in musical tone, the very way man is
- Title: Man/Being/Spirit/Soul: Lecture II: The Psychological Expression of the Unconscious
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- musical nature, that comes to expression in the most varied
- Title: Warmth Course: Lecture IX
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- apparatus as compared to the ear of the musician, as compared to the
- revelation of nature that is given us in the musician's ear itself.
- Title: Warmth Course: Lecture XIV
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- reflection of an inner world music. This inner world music reveals
- our terrestrial music. Music should never be so conceived that we
- Title: Lecture: Younger Generation: Lecture II
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- Grammar, Dialectic, Rhetoric, Arithmetic, Geometry, Astrology, Music
- Title: Lecture: Younger Generation: Lecture IV
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- him was in Richard Wagner's music. As you know, Wagner was a
- Title: Lecture: Younger Generation: Lecture IX
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- astronomy and music, to music as it was conceived of at that time,
- astronomy and music as much of the artistic as was possible, having
- rhetoric, arithmetic, geometry, astronomy and music, grew out of an
- Title: Lecture: Younger Generation: Lecture X
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- music-stand on which he set out minerals, placing on top a little
- Title: Lecture: Lecture I: Occult Signs and Symbols
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- instructions, then he learns to hear a real music that wells through
- with such music, and there are certain basic tones. You can get an
- musical harmony arises, it rests on the fact that different strings
- the physical world, receive musical impressions from the strings'
- Title: Lecture: Lecture IV: Occult Signs and Symbols
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- There the music of the spheres can be heard, tones that swell and
- Title: Practical Course/Teachers: Lecture I: Introduction - Aphoristic remarks on Artistic Activity, Arithmetic, Reading, and Writing
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- the spirit when we teach the child music, drawing, or anything
- begin, too, with the musical element, so that the child is
- instruction, and musical training, too, should be
- “musician.” If people had the right and necessary
- to bring his own body into a musical rhythm, into a musical
- relation with the world, and this inner musical capacity is
- build less on externally induced music than on the inducement
- first teeth are shed the disposition for the complete musical
- element. The separate senses, the musically attuned ear, the
- plastically skilled eye, arise first from this musical
- disposition; what we call the musical ear, or the eye for
- drawing or modelling, is a specification of the whole musical
- experience in utilizing either the musical element or the
- Title: Practical Course/Teachers: Lecture II: On Language - the Oneness of man with the Universe
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- it? It is essentially music exceeding certain limits. An
- experience of music disintegrates, exceeds a certain limit,
- more than a mere musical experience. That is: in the
- something musical, but in the degree in which it contains
- fusion of musical with plastic elements in man. You can see
- Title: Practical Course/Teachers: Lecture III: On the Plastically Formative Arts, Music, and Poetry
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- stream of the musically poetical. These two domains of art,
- that of the plastically formative and the musically poetical,
- the Jewish element is especially disposed to the really musical
- justified aspirations, to unite the musical with the
- where the musical and the visible can become one —
- musical element, which lives in the human being from birth
- by a profoundly musical experience into a certain degree of
- educational value of music must consist in a constant
- a supremely living power in music must be partially subdued and
- introduce music to children.
- in music. But I want to point out that here it is
- musical child; this one is not musical. Certainly the fact is
- unmusical child must be kept apart from all music and
- only the musical children must be given a musical education, is
- thoroughly false; even the most unmusical children should be
- included in any musical activity. It is right without a doubt,
- from the point of view of producing music more and more, only
- to encourage the really musical children to appear in public.
- But even the unmusical children should be there, developing
- sensitiveness, for you will notice that even in the unmusical
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- Title: Practical Course/Teachers: Lecture IV: The First School-lesson - Manual Skill, Drawing and Painting - the Beginnings of Language-teaching
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- similar process can be applied to the teaching of music. Here,
- have just described. Perhaps the musical element will have to
- it at another time. Now it will be well for the music-master to
- based more upon music, and also to refer to it frequently, so
- Title: Practical Course/Teachers: Lecture V: Writing and Reading - Spelling
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- that the first elements of the musical experience of beauty and
- Title: Practical Course/Teachers: Lecture VI: On the Rhythm of Life and Rhythmical Repetition in Teaching
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- artistic: music, drawing, plastic art, etc.; but on the other
- Title: Practical Course/Teachers: Lecture VII: The Teaching in the Ninth Year - Natural History - the Animal Kingdom
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- taking for the purpose his father's music desk, laying minerals
- Title: Practical Course/Teachers: Lecture X: Arranging the Lesson up to the Fourteenth Year
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- element as our point of departure. We shall study music and
- For we cannot take music with little beginners who have come to
- lesson and music late in the afternoon. We shall also have to
- Music. Painting with drawing.
- Title: Practical Course/Teachers: Lecture XIII: On Drawing up the Time-table
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- in the playing of a musical instrument. From the first we
- the production of music from within by song, and the hearing of
- the way into music, will provide for us, particularly in the
- music and the gymnastics and Eurhythmy to be in the afternoon,
- music and gymnastics and Eurhythmy with the children in the
- study the elements of painting and drawing, of music, and even
- Title: Study of Man: Lecture V
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- represent? He is supposed to represent a musical connoisseur who quite
- should dwell in music. In the contrast between Walther and Beckmesser,
- feeling and thinking work together in the hearing of music. And this
- the whole appeal to feeling in Wagner's art as unmusical. There are
- of view as the work of Eduard Hanslick On Beauty in Music. The
- music from a feeling element is no true musician, and has no real
- understanding for music: for a true musician sees the real essence of
- what is musical only in the objective joining of one tone with
- abstaining from all feeling. In this book, On Beauty in Music
- highest type of music must consist solely in the tone-picture, the
- of music is a clear sign that recent psychological ideas about the
- Music is very brilliant.
- Title: Study of Man: Lecture X
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- to song and music. Head man reveals Body: Breast man Body and Soul:
- music within.
- poetic, the musical arts, arise out of the plastic, the architectural
- musical arts are within. A reflecting back of the world from within
- outwards such is the nature of the musical arts. Thus does man
- Title: Study of Man: Lecture XI
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- instance, or Eurythmy. It wouldn't do. Nor can we give him a musical
- art. The first elements of drawing, painting and music must precede
- Title: Anthroposophy Science: Lecture II
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- in us when we listen to music, one can see the relationship
- Title: Dear Children: Lecture II: Address at a Monthly Assembly
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- on in recitation, drama, music, and eurythmy, or in foreign languages,
- Title: Fruits/Anthroposophy: Lecture 8: The Social Question
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- Music. Tr. by V. and J. Compton-Burnett. Rudolf Steiner Press. Rudolf
- Title: Spiritual-Scientific Consideration: Lecture 2: Esoteric Prelude to an Exoteric Consideration of the Social Question I
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- Men can naturally say: Now look, you perceive music; you
- music is much more complicated than that. It is like
- the musical-aesthetic experience. Even there, the
- Title: Occult History: Lecture 3
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- worlds; that is to say, to regard what is clothed in musical tones,
- form of musical tones, the impetus towards the spiritual world; who
- purely formal music which Richard Wagner wanted to surmount, was vigorously
- work an music produced in Vienna by Eduard Hanslick, the author of the
- (“On the Beautiful in Music.”).
- make music in the way Richard Wagner makes it; that is not music at
- all, for music there sets out with the intention of pointing to something
- that lies outside music, to something super-sensible. Music is an “arabesque
- In other words, music is an arabesque-like interweaving of tones, and
- the musical-aesthetic enjoyment of it may consist in purely human delight
- says that Richard Wagner is no musician, that he simply does not understand
- the essence of the musical, that the essence of music lies simply in
- one can say: Richard Wagner is no musician. But then one would have
- reconciling ourselves through the fact that music, as Hanslick understands
- Title: Deeper Education: Lecture I: Gymnast, Rhetorician, Professor: A Living Synthesis
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- being sculpturally and musically formed — has its effect
- with the musical speech of poetry. He trusted that if speech
- were handled properly, this musical and sculptural-painterly
- Our musicians compose music, they write melodies and harmonies,
- someone frequently ini the realm of music; but why do they
- to bring a musical, sculptural-painterly quality into speech,
- Title: Deeper Education: Lecture II: Forces Leading to Health and Illness in Education
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- teaching in the musical sphere and, on the other, the right
- upon the musical sphere. Thus, our teaching takes shape, and
- Title: Deeper Education: Lecture III: A Comprehensive Knowledge of Man as the Source of Imagination in the Teacher
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- musical education counteracts this excessive formation of the
- music, for example, is interspersed among the other subjects,
- Title: Lecture: Inner Nature of Music: Lecture V
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- The Inner Nature of Music and the Experience of Tone
- musical experience, the connection between speech and song, the religious
- experience of music in ancient times, the cosmic sources of musical
- will neither deal with the aesthetics of music nor is it intended for
- aesthetics of music — as conceived from today's
- musical instruction. We can go into more detail another time.
- fail the moment one is obliged to speak about the musical element. It
- is hardly possible to discuss the musical element in the concepts to
- the musical element really does not exist in the physical world. It
- like Goethe to consider the musical element as a kind of ideal of all
- forms of art. Hence, Goethe said that music is entirely form and
- struggled for an understanding of music, the strange distinction was
- made between the content of music and the subject of an art form.
- The Beautiful in Music,
- [Edward von Hanslick (1825–1904), music critic and
- The Beautiful in Music
- 1954.] Naturally, Hanslick ascribes a content to music, though
- in a one-sided manner, but he denies music a subject. Indeed, music
- intellectualism cannot reach the musical element, because it can deal
- the strange fact that nowhere in the well-meant instruction of music
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- Title: Lecture: Inner Nature of Music: Lecture VI
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- The Inner Nature of Music and the Experience of Tone
- musical experience, the connection between speech and song, the religious
- experience of music in ancient times, the cosmic sources of musical
- plays in musical experience and on the other hand of the roles played
- description that music progressing in fifths is still connected with
- a musical experience in which the human being is actually brought out
- the seven musical scales, we discover hidden, as it were, an
- does this really mean in relation to the whole musical experience? It
- one who wishes to penetrate the secrets of the musical element. This
- imaginations in the musical element. There was still an objectivity,
- a musical objectivity, in the experience of the fifth. Man lost this
- thus have pointed out at the same time what the musical experience
- wind instrument, or of a string instrument. Musical instruments
- appeared to man at first as imaginations. Musical instruments were
- existed in music in the interval of the fifth. Only with the fourth
- does man really approach himself with the musical element.
- the instrument. This is the transition of the musical element from
- earlier ages, the relationship of musical man to his instrument must
- drawing the musical experience inward came later. Formerly, man felt
- that in relation to music he carried a certain circle of tones within
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- Title: Poetry/Speech: Lecture VII: The Uttering of Syllables and the Speaking of Words
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- word has not yet become word, but still submits to the musical,
- goes back from the prosaic or literal to the musical or plastic.
- musical theme, onto which he then threaded the words. One might
- as regards verbal content, out of the same musical theme. And to
- sound, the balance of the syllables, the musical rhythm and
- formative and musical experience.
- inwardly eurythmic, the imaginative and musical configuration of
- whether plastic or musical –
- Title: Poetry/Speech: Lecture VIII: The Interaction of Breathing and Blood-Circulation
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- musical creativity.
- As that their movings doe a musick frame,
- truly musical and imaginative qualities of poetry is really saying
- Title: The Three Fundamental Forces in Education: Lecture
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- and in music. These forces are derived from the world.
- musical forces derive more from the outer world, the
- that takes place in nature is permeated by a mysterious music:
- I In- earthly projection of the “music of the
- really incorporated a tone of the music of the spheres. That is
- unconsciously, and that is why children are musical to such a
- opposed by the gradually developing spiritual element of music
- voice. That is a conflict between inner music-speech forces and
- outer music-speech forces. Up to the seventh year, man is
- essentially permeated more by plastic and less by musical
- forces — that is, less by the music and speech forces
- year what proceeds from music-speech becomes particularly
- what is active in music-speech; only this changes in the
- music-speech on the one hand and the plastic-architectonic on
- seat there, and speech-music, which comes from without, uses
- particularly music, co-operates in the formation of man.
- musical achievement performed in the reciprocal action between
- absorbs of the music-speech element — very little of the
- speech, but very much of the musical — passes through the
- skeleton we find a musical image too, but only in the sense
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- Title: Universe, Earth and Man: Lecture VIII: Mans connection with the various planetary bodies. The earth's mission.
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- cosmic music pervade his astral body. The astral body is then immersed
- in true spiritual existence, and from the music of the spheres it
- at night within the music of the spheres, and through the tones
- flower, you would perceive them as spiritual music the music of
- plants is heard the sun-tones which re-echo into space the music of
- Title: Universe, Earth and Man: Lecture XI: The reversing of Egyptian remembrance into material forms by way of Arabism. The harmonizing of Egyptian remembrance. The Christian impulse of power in Rosicrucianism.
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- mathematics to him; it gave him the musical secrets of the world in
- Title: Social Basis For Primary and Secondary Education: Lecture III
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- After that there perhaps come music or singing, perhaps not that but
- Title: Meditative Knowledge of Man: Lecture II: The Three Fundamental Forces in EducatioN
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- to say, they are the same forces that are active in speech and in music.
- forces as are of a musical kind are taken up more from the outer world,
- secret music pours through every natural occurrence —
- the earthly projection of the music of the spheres. In truth, a tone of
- children musical to such a high degree. All of this they are taking up into
- element of music and language, developing gradually from within outward.
- music and language and outer musical-1inguistic forces.
- formative and less by musical forces, that is to say less by forces of
- music and language glowing through his organism. From the seventh year on,
- however, the activity of music and speech becomes particularly strong in
- formative-structural works in collaboration with the musical lingual. This
- between the musical-lingual on the one hand and the formative-structural on
- musical-lingual, proceeding from the outer world, coming from outside,
- this we see that human speech too, but above all the musical element
- skeleton an incorporated musical achievement, played out in the interaction
- the lingual-musical element (very little of the lingual but very much of
- the musical) passes right through the animal, since it lacks in a certain
- skeletal form of the animal we have a musical imprint too, but it is such
- that a musical coherence would be provided only if various skeletons were
- irradiates our musical and language instruction, while we acquire more of
- Maximum number of matches per file exceeded.
- Title: Meditative Knowledge of Man: Lecture III: Spiritual Knowledge of Man as the Fount of Educational Art
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- like to call one of them the musical element, the element of sound that we
- sound, to the more or less musical element; and I do not only mean the
- musical element that lives in
- music,
- limb organisation. Everything musical has to penetrate deep inside our
- convey the actual perception of musical experiences. So if you look for the
- music into such intimate connection with the will. Musical perceptions are
- the realms of the will. The place where musical perceptions are understood
- experiences. And the musical element, that is, everything we hear, is
- metabolism of the head realm and bring about musical memories. In the same
- realms in which perception of visual things take place musical memory, the
- who has ever studied musical memory — and despite the
- pronounced in man's inner world, and that cosmic music moves beneath the
- example you do a lively meditation on the whole life of the musical element
- musical memories in the realm where we have perceptions of what we see
- Title: Meditative Knowledge of Man: Lecture IV: The Art of Education Consists of Bringing Into Balance the Physical and Spiritual Nature of the Developing Human Being
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- certain point of view that an element of will, a musical element is being
- is really the musical element and all that which is being absorbed as
- music, as sound is vibrating through the astral body. Through this activity
- through. Equally, everything in language which is of a musical nature, for
- the organism. Music will be specially beneficial for a somewhat fanciful
- recollect music, his musical, memory. These are the means we must use when
- receiving a special musical training, we notice that he becomes too
- listening and less his musical memory. We can always work for a balance:
- try to regulate things through the way we teach a language. All the musical
- and cosmic-musical forces. This interplay unfolds of course in the most
- and also when man is asleep. This interplay between the musical element and
- the rest of the organism undergoes, you must feel yourself a musician doing
- is this weight which influences the musical forming of the movements. And
- approach life with a sense of music (
- face him, in this way you can see what expresses itself musically; you
- compose by merely using a book on music theory, or if someone else took a
- Title: Polarities in Evolution: Lecture 5: How the Material Can Be Understood Only through the Spirit
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- background to gravity. I hear the music of the spheres
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