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

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: Lecture V
    Matching lines:
    • how the transition from the feeling for the fifth to the third came
    • exists for a fifth or a third is absent for an octave. Of course, we
    • arranged according to continuing sevenths; even the fifth was
    • painful. Man began to find the experience of the fifth more
    • feeling for f and c is missing; instead, the fifths throughout the
    • the course of time, the fifths began to be the pleasurable
    • carried into a different element. In the music of the fifths
    • fifth still predominated. (To this day, experiences of the fifth are
    • he experienced fifths, he would have been inclined to say, “The
    • the age when the fifths predominated, it was impossible to color
    • experience of the fifth, namely major and minor keys. One could not
    • this experience increasingly intensified. The experience of the fifth
    • leaving and returning to himself in the musical experience. The fifth
    • same manner as seventh, fifths, and thirds — today's use
    • readily admitted, the child essentially dwells in moods of fifths.
    • appreciation must be based on the appreciation of the fifths; this is
  • Title: Lecture: Inner Nature of Music: Lecture VI
    Matching lines:
    • I spoke on the one hand of the role that the interval of the fifth
    • description that music progressing in fifths is still connected with
    • of himself; with the feeling for the fifth, man actually feels
    • tones above c — and consider that it is possible for the fifth
    • additional twelve-part scale with the interval of the fifth.
    • means that within the experience of the fifth, man with his “I”
    • his physical organization through the experience of the fifth.
    • transition from a third to a fifth — though there is much in
    • the fifth brings awareness of man within the divine world order. The
    • experience of the fifth is, as it were, an expansion into the vast
    • experience of the fifth of the outer world and the experience of the
    • of the fifth in order to be among the gods, in the experience of the
    • experience of the fifth as spiritual experience was the first to be
    • fifth that still existed, let us say, four to five hundred years
    • experience of the fifth, “I stand within the spiritual world.”
    • of a fifth. Because he still possessed imaginative consciousness, he
    • felt that the fifth, which he himself had produced, took its course
    • a musical objectivity, in the experience of the fifth. Man lost this
    • experience of the fifth was still pure. Song was indeed something
    • mentioned earlier, the fact of the twelve fifths in the seven scales
    • Maximum number of matches per file exceeded.
  • Title: Lecture: Inner Nature of Music: Lecture VII
    Matching lines:
    • intervals of thirds, not even fifths. Their musical experience really
    • fifths; these intervals did not exist for Atlanteans.
    • interval of the fifth. This must not be compared to man's
    • present-day feeling for the fifth. Today, the fifth gives man an
    • experiences something empty in the fifth, though in a positive sense
    • of the word empty. The fifth has become empty because the gods have
    • fifth that the gods actually lived in these fifths. Only later, when
    • fifth. In the era of thirds, however, which as you know dawned only
    • definitely still the case in the “fifth-era,” if I may
    • ancient “fifth-era,” which preceded the above cosmic
    • see, however, how matters proceed from the seventh to the fifth, from
    • the fifth to the third, and from the third down to the prime, the



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