Searching Rudolf Steiner Lectures by GA number (GA0283)
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- Title: Lecture: Speech and Song
- 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
- 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
- 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
- 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
- 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
- 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
- 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
- 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
- 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
- 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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