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Searching Rudolf Steiner Lectures by GA number (GA0283)

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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: Speech and Song
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    • that which man forms and creates in this activity — we may call
    • figuratively in the least: — the human being is plastically
    • current of the breath. He consciously calls into activity this second
    • into the head which is directly called into activity when, as in
    • consonantal nature, which is plastically shaped and formed in
    • of cells which we can investigate chemically and find the substances
    • And if we conceive the whole twelve consonants, cosmically
  • Title: Lecture: Inner Nature of Music: Lecture I
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    • what the origin is of the artistically formed tones and what they are
    • without interpolation of the mental image. When man is artistically
    • recalls that in this world of light and color there were things and
    • world and, upon awakening, recalls that he had taken part in that
    • world. Man gradually learns to see what is called the astral body of
    • physical ear. This world is called Devachan.
    • realm have been called “the world of permeability.”
    • etheric body. A person is musically creative or sensitive to music
  • Title: Lecture: Inner Nature of Music: Lecture II
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    • because outer things call forth mental images in the human senses,
    • Schopenhauer speaks physiologically of specific sense impressions.
    • like a Fata Morgana within him; it is a kind of reflection called
    • force active within us, as will. These forces Schopenhauer calls “the
    • if he undergoes the discipline of so-called “great stillness.”
    • opens to man is Devachan, the so-called mental world, and he enters
    • with some of the effects that these experiences called forth in him.
    • When he awakens in the morning, not only is he physically rejuvenated
    • astral and Devachanic worlds. In these worlds, specifically in the
  • Title: Lecture: Inner Nature of Music: Lecture III
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    • physical heredity is to what we call an ongoing karma.
    • calls inanimate and the etheric body in common with all plants. Then
    • we examine the astral body closely, we have first the so-called
    • blood, for instance, is called “water.” Third, we have
    • increasingly delicate and reaches a new state. The esotericist calls
    • is called “light ether” by the esotericist. Continuing to
    • a still higher state, we come to what esotericists call “chemical
  • Title: Lecture: Inner Nature of Music: Lecture IV
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    • sculptural form of the human organization. Not speaking symbolically
    • means of recalling the experience of pre-earthly existence. We stand
    • it actually consisted only of vowels and was rhythmically half-sung.
    • is basically the body of tone. It is not surprising, therefore, that
    • basically nothing but the pre-earthly force of clairvoyance. Just as
    • one finds chemical substances that may be examined chemically. That
    • things, the greatest artist was called Orpheus. He actually possessed
    • 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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    • we call c today are excluded, were permeated with a measure of this
    • minor moods in music. Basically, we ourselves are still involved in
    • nine and ten and that should be specifically cultivated. As far as is
    • we experience how matter strives to become musically ensouled. This
    • is what the position of contra-tones in music basically signifies.
  • Title: Lecture: Inner Nature of Music: Lecture VI
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    • not take this pedantically; pedantry must never play a role in the
    • attention be called to these things. In the sphere of music, too, the
    • etherically before us. The musical experience is nothing else than
    • anthroposophically.
    • remaining mystery traditions clairvoyant cognition is also called
    • musical instruments basically are a clear reflection of the fact that
    • instruments like the flute or violin originate musically from the
    • artist who basically lives completely in the element of music, such
  • Title: Lecture: Inner Nature of Music: Lecture VII
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    • I have called attention repeatedly to the fact that, just as one can
    • is a prejudice of contemporary, so-called enlightened human beings to
    • who lives musically only in sevenths, with no intervals in between,
    • prophetically envisioned man's fall from the divine-spiritual
    • religiously and artistically, must go through with the world, so that
  • Title: The Occult Basis of Music
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    • What is the origin of musically-shaped sounds? How are they related to
    • previously he knew nothing, a world which is not intrinsically one of
    • This world is called the devachanic world (Deva=spirit, chan=home).
    • devachanic-astral realm is called the world of interpenetrability. Man
    • transmutation of it calls for the least strength. Man can work on his
    • his etheric body he has to call on forces from the devachanic world,

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