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Searching Rudolf Steiner Lectures by GA number (GA0283)
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   Query type: 
    Query was: experience
  

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
    Matching lines:
    • The Essence of Music and the Experience of Tone.
    • The Inner Nature of Music and the Experience of Tone: Lecture IV.
    • though by earthly means — of that which we experienced in the
    • experiences all the more strongly, only with this difference. He no
    • my dear friends, unless we feel in it the longing to experience the
  • Title: Lecture: Inner Nature of Music: Lecture I
    Matching lines:
    • 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
    • inspiration, and the occult experience of major and minor modes.
    • less than a civilized human being who can experience the pain of
    • soul, he ascends step by step. The first thing he experiences is a
    • man is able to exclude all memories and experiences of the outer
    • he has experienced something new. It is as if he emerged from an
    • physical world. His dream experiences gain increasing clarity. He
    • the human being. He experiences a world that is much more real than
    • soul experiences Devachan between two incarnations on earth, then we
    • reverberate. From this reverberation a person experiences pleasure,
    • hears music, the impression is experienced first in the astral body.
    • feels in music an echo of what it has experienced in Devachan. The
    • experienced in the world of his spiritual home.
  • Title: Lecture: Inner Nature of Music: Lecture II
    Matching lines:
    • 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
    • inspiration, and the occult experience of major and minor modes.
    • experience only one thing within ourselves in an immutable manner:
    • ourselves. We experience ourselves in our will, and no detour from
    • any influence on the outer world, we experience will, we ourselves
    • from our own inner experience, and by analogy we can conclude that
    • which presents simple daily experiences to man in symbols. The third
    • of daily experiences often rendered in tangled symbols. Instead, a
    • experience in this new world that unfolds before man is one of living
    • living beings. This experience of conscious dream-filled sleep then
    • increasingly longer periods. He is conscious in it and experiences
    • are not based on personal experiences of the reality of the world.
    • plane and of experiences there, but his description of Devachan is
    • and is not experienced personally by him. All descriptions that do
    • region dwell inspired authors. Here they experience a real permeation
    • of himself nor of his experiences there. Nevertheless, he returns
    • with some of the effects that these experiences called forth in him.
    • unconscious one, of experiences in the astral world. Where has he
    • Maximum number of matches per file exceeded.
  • Title: Lecture: Inner Nature of Music: Lecture III
    Matching lines:
    • 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
    • inspiration, and the occult experience of major and minor modes.
    • spatial orientation that enables one to experience the three
  • Title: Lecture: Inner Nature of Music: Lecture IV
    Matching lines:
    • 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
    • inspiration, and the occult experience of major and minor modes.
    • means of recalling the experience of pre-earthly existence. We stand
    • consonants behind, but he experiences the vowels, especially the
    • experience the spiritual at least in the revelation of beautiful
  • Title: Lecture: Inner Nature of Music: Lecture V
    Matching lines:
    • 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
    • inspiration, and the occult experience of major and minor modes.
    • experience the difference that exists in comparison to feelings for
    • to the prime, an entirely different experience arises as soon as the
    • able to deepen the musical experience tremendously. Every time the
    • becomes clear that the musical experience at first does not have the
    • experience involves the whole human being, and the ear's
    • function in musical experience is completely different from what is
    • experienced with the whole human being. This experience reaches our
    • experience in tone, however, no longer has anything to do with the
    • tone before our experience of tone. In experiencing tone as such, we
    • resounding in the air and to hurl the pure etheric experience of tone
    • we must understand the entire tone experience in man more deeply. I
    • tone experience. We say so lightly that man is a threefold being:
    • conditions, this is as true as can be. For the tone experience,
    • however, for the musical experience, it is not quite correct. Musical
    • experience does not actually exist in the same sense as sense
    • experience does for the other senses. The sense experience in
    • Maximum number of matches per file exceeded.
  • Title: Lecture: Inner Nature of Music: Lecture VI
    Matching lines:
    • 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
    • inspiration, and the occult experience of major and minor modes.
    • plays in musical experience and on the other hand of the roles played
    • a musical experience in which the human being is actually brought out
    • does this really mean in relation to the whole musical experience? It
    • means that within the experience of the fifth, man with his “I”
    • his physical organization through the experience of the fifth.
    • to the experience of the third — in both the major and minor
    • organism; man experiences the interval of the third inwardly. In the
    • experiences the transition from inner to outer experience. One
    • therefore can say that in the case of the experience of the third the
    • becoming aware of the human being within himself. The experience of
    • experience of the fifth is, as it were, an expansion into the vast
    • universe, while the experience of the third is a return of the human
    • experience of the fourth.
    • experience of the fourth is perhaps one of the most interesting for
    • is not because the experience of the fourth in itself is the most
    • experience of the fifth of the outer world and the experience of the
    • Maximum number of matches per file exceeded.
  • Title: Lecture: Inner Nature of Music: Lecture VII
    Matching lines:
    • 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
    • inspiration, and the occult experience of major and minor modes.
    • human being experiences during his waking hours is experienced
    • what he experiences between falling asleep and awakening. Only
    • one speaks of man's waking experiences, they necessarily
    • experiences there, despite the fact that, due to the absence of
    • soul-spiritual organs, these experiences do not reach ordinary
    • experiences in this super-sensible world, one must describe this world
    • experienced in the course of that age. Now we shall take a brief
    • experienced during that same time. We shall turn to the other side of
    • human thoughts upon the world so that it can experience them
    • and had come to experience and behold these form beings, would, in
    • books — and these Atlanteans experienced the world completely
    • kind of experience. Atlanteans could not yet experience musical
    • intervals of thirds, not even fifths. Their musical experience really
    • experience of tone structure was completely different, and the soul
    • experience converged with a direct religious experience. Their
    • experience of the seventh did not make them feel that they themselves
    • Maximum number of matches per file exceeded.
  • Title: The Occult Basis of Music
    Matching lines:
    • and the Experience of Tone. In the collected edition of Rudolf
    • The Inner Nature of Music and the Experience of Tone
    • experience which penetrates the soul; and for those who want to understand
    • The savage feels this less than does the genius, who experiences the
    • experiences a special configuration of his dream life. His dreams take
    • experienced something; that he has seen an ocean of which he had no
    • previous knowledge. Increasingly his dream-experiences gain in
    • of other men and of much else, and he experiences a world which is
    • So, when someone lives in the experience of music, he is living in the
    • experience your native place.” It was an intuitive knowledge of



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