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

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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    • being, which emerge in early childhood, are in reality a
    • man expresses himself in speech or in song, he is really manifesting
    • the expression of the human being through sound was not really
    • vowel element. Now, the consonantal element is in reality entirely
    • song or an articulate sound in speech, his whole body really takes
    • its plastic form and structure, may really be conceived as
    • twelve consonants taken together really represent the entire plastic
    • from speech to song. Song is indeed a. real recollection —
    • Physics to believe that the peculiar forms in the air are the reality
    • of sound. It is really childish. Imagine, for a moment, you have a
    • the less are reality. Imagine here the Earth. Around it are the
    • totality. (It really looks as though we were speaking figuratively,
    • but we are not, it is absolutely real.) Imagine yourself out there in
    • element of song, he really inclines himself to that cosmic
    • to see them in their real connection, there arises before us the
    • symbolic but in a most real sense. These things are indeed such as I
  • Title: Lecture: Inner Nature of Music: Lecture I
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    • realm of human feeling (Gemüt); on the other hand it also
    • idealized reality of the human world. The same is true of painting,
    • in which today (1906) only an immediate impression of reality is
    • of reality. One who wished to apply this approach to music, however
    • from the realm of existence in which music has its true prototypes.
    • realm. His next step is to take that world with him into the daily
    • the human being. He experiences a world that is much more real than
    • tone. On this basis, Paracelsus said, “The realms of nature are
    • the physical world is a shadow, a real shadow of the much loftier
    • reality.
    • toward the astral realm, is the sentient body
    • realm have been called “the world of permeability.”
    • permeated with the vibrations of the Devachanic realm; he has these
  • Title: Lecture: Inner Nature of Music: Lecture II
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    • continuously surrounds the human being. It is a real world, as real
    • as the world surrounding us that appears to us as reality. Once a
    • now approaches, the colorful world of the astral realm in which he
    • are not based on personal experiences of the reality of the world.
    • penetrates the Devachanic world. The essence of the Devachanic realm,
    • region dwell inspired authors. Here they experience a real permeation
    • painter, for example, goes far beyond the reality of colors in the
    • world, and we see how the effects of the astral realm bear
    • outside into itself. An utterly unselfish corporeality, fully pure
    • physical realm.
    • victory of the spiritual over merely animated corporeality
    • astral corporeality, but the world of tone speaks to the innermost
  • Title: Lecture: Inner Nature of Music: Lecture III
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    • realize that man's musical gift depends on a special
    • enable them to realize their potential. The family below on the
  • Title: Lecture: Inner Nature of Music: Lecture IV
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    • it is really a musical instrument. Indeed, you can comprehend
    • for the vowels. The sculptural instrument of the body is really dead
    • shape. Yet, it is really shaped out of the spiritual, and only
    • in reality to the super-sensible world, and what lives here in the air
    • figuratively, this description is a reality. Imagine the earth,
    • but it is not so, this is a reality; imagine yourself out there in
    • he moves closer to the realm of pre-earthly existence, from whence he
    • which we must sing. Man, as he stands before us, on earth, is really
    • 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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    • the musical element really does not exist in the physical world. It
    • thus actually feel a resonance, a reflection. The ear really hurls
    • really an experience of the whole human being.
    • the earthly corporeality — come into being only in the course
    • really strives to lead man back to what he lost in primeval times. In
    • thirds, but if one really wishes to reach the child, musical
    • of concepts takes place on a level above that of the musical realm.
    • laut]. In the sound of speech, the concept really cancels out the
  • Title: Lecture: Inner Nature of Music: Lecture VI
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    • does this really mean in relation to the whole musical experience? It
    • in the divine realm. Man still had imaginations, still had
    • is evidence that the possibility of motion outside the human realm
    • does man really approach himself with the musical element.
    • himself that reached downward, excluding the realm of tones below the
    • into these two realms.
    • realm of willing any more than into that of thinking. In both
    • place within the realm situated between thinking and willing. It must
    • element of melody guides the musical element from the realm of
    • element that reaches up into the same realm where mental images are
    • toward willing. It must not penetrate the realm of willing, however;
    • extends into the realm of willing.
    • musical element really pervades the whole human being.
    • this. The human being really experiences himself as etheric body in
    • Again, the sixth is in between. From this we realize that man
    • case of the fourth. You see, the fourth is in fact a real perceiving,
    • interval of the fifth is a real experience of imagination. He who can
    • experience of the fifth is a real imaginative experience. The same
    • the musical element is as yet quite limited. If it were really to
    • within the material realm. Pure matter was put to use so that the
  • Title: Lecture: Inner Nature of Music: Lecture VII
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    • form, how the realms of the physical-etheric world — the
    • mineral, plant, animal, and human realms — continue upward into
    • the realms of the higher hierarchies. We shall now take a closer look
    • or four, realms of nature, namely, the mineral, plant, animal, and
    • human realms. Ascending to those regions that are accessible only to
    • these realms: the realms of the Angeloi, Archangeloi, Archai,
    • glance at what the beings who belong to the super-sensible realm
    • life, as it were, and take the viewpoint of the super-sensible realm.
    • is really implied here? What am I trying to point out so intensely?
    • see supersensibly, he has the following impression. He realizes that
    • the Angeloi, Archangeloi, and Archai; they are really on this side of
    • located beyond this realm; they are concealed by the tapestry of
    • intervals of thirds, not even fifths. Their musical experience really
    • He brings the musical element close to his corporeality. He
    • interweaves it with his corporeality. Along with the experience of
    • again find the way out to the divine-spiritual. In one realm,
  • Title: The Occult Basis of Music
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    • similarly, tries to deal with some aspect of the real world. But if
    • of external reality. A statue of Zeus, for example, is not produced by
    • creative depths of nature, he creates something real and achieves a
    • to these questions we must turn to the realm where the true models for
    • much more real than the physical one — a world which in relation
    • of the spheres, and out of this realm of harmony he passes into the
    • the physical realm, where everything we see and hear is outside
    • devachanic-astral realm is called the world of interpenetrability. Man



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