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

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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    • equilibrium for earthly life is a faculty which man does not bring
    • with him. He must acquire it during his earthly life.
    • speech or language is adapted during our life on earth. But in the
    • outwardly but inwardly. In all that he brings forth by way of sound
    • that we bring forth in speech is composed of a consonantal and of a
    • here meant. For when the human being brings forth a musical note in
    • considering the speech that forms a part of present-day civilisation,
    • we find that our soul, whenever it brings forth vowel sounds, makes
    • song, the uttering of the vowel is added to the bringing forth of the
    • differing in inner quality. For it is another thing, whether a Being
    • same time a hearing; and when he says: — Man sees from the
    • stars at rest, and behind it the wandering planets. Whenever a planet
    • rings forth. But behind it there follows, let us say, another planet:
    • causes a different world of sounds to ring forth once more. Thus you
    • have described them, albeit to describe them we must sometimes bring
  • Title: Lecture: Inner Nature of Music: Lecture I
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    • will rules the entire world. It forms the stones, then brings forth
    • peculiar transformation of his dream world. When, during meditation,
    • world of the continuity of consciousness, man can bring the tone
    • may also say that during the night the soul feasts and lives in
    • melodies that impress themselves on his etheric body during the night
    • music that resounds here in the physical world and hearing spiritual
    • music during the night.
    • During
    • Although man is unaware of having absorbed tones during the night,
  • Title: Lecture: Inner Nature of Music: Lecture II
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    • that there are intentions in nature that she can neither bring
    • end and of pouring forth what has been the intention of nature.
    • belongs during any one of these three states of consciousness.
    • either of the other two. From them, he brings no conscious
    • begins to awaken during his ordinary dream-filled sleep; it is as
    • light and colors. This glimmering light and these flowing colors are
    • world rings out to him. This is how the Devachanic world truly
    • not describe how a tone rings out from the other side are incorrect
    • by the sleep, but he also brings back art from those worlds. When a
    • during the night. Only this flowing ocean of light and colors, of
    • beauty and radiating, glimmering depths, where he has dwelt during
    • grant music a special place, and why music stirs the deepest strings
  • Title: Lecture: Inner Nature of Music: Lecture III
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    • to find themselves in the spiritual world and who bring with them
    • individuality will make up the 200 years during his next time in
    • Something extremely significant took place during that period. Man's
    • body. During that age, the “I” gradually united with
    • feel these “I's” hovering above. They would have
    • impossible, for the sentient souls hovering above are so delicately
    • been mute and incapable of uttering sound. They had to master the
    • next stage will bring about the soul's descent into the fluid
    • whirring of its wings, are outer sounds; it is not the soul that
    • the point in time just described, man became capable of pouring forth
    • is much older than the sense of hearing. Formerly, man perceived
  • Title: Lecture: Inner Nature of Music: Lecture IV
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    • Anthroposophic Press, Spring Valley, NY. 1982.]
    • I pointed out that certain human functions appearing in early childhood
    • adapted to them during earthly existence. In pre-earthly existence,
    • us begin by considering speech. In the course of humanity's
    • speaking of these forms, one is not always referring only to the
    • culmination. When a human being brings forth a tone or sound, his
    • by picturing how they are built, as it were, out of the consonants.
    • today; he then consciously brings into activity this second stream
    • this seeing is also a hearing; and just as one can say that one sees
    • is actually a hearing of this speaking-singing, singing-speaking.
    • fixed stars and behind it the wandering planets. As a wandering
    • takes a step back, he brings the earthly affairs surrounding him to a
    • art of sculpturing, from the other comes a musical and song-like
    • brings forth and shapes the instrument, the other plays on the
  • Title: Lecture: Inner Nature of Music: Lecture V
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    • can be of significance in preparing such a general foundation in
    • must repeat that all concepts come into confusion in encountering the
    • only a reflecting organ; the ear does not actually bring man into
    • example. The eye brings man into connection with all visible forms of
    • on the way to acquiring an experience of the octave? The reason is
    • that the experience of the third begins during the fourth
    • with the astral and etheric. We bring into ourselves the etheric and
    • feeling for the octave brings us to find our own self on a higher
    • arose, and during this time man still felt united with what lived in
    • “I breath in, I breath out. During a nightmare I am especially aware
    • outside himself. He would have been incapable of hearing an
    • wandering around. He could only experience a tone composed of outer,
    • approach the child with them. When entering school, the child can
  • Title: Lecture: Inner Nature of Music: Lecture VI
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    • the fifth brings awareness of man within the divine world order. The
    • expression referring to vision for an experience that has to do with
    • hearing). Though man is not conscious of it, the sensation he
    • of the fourth, much later on, was such that during this experience
    • wind instrument, or of a string instrument. Musical instruments
    • today is harmony. I am referring to the sum total of music, not song
    • being an abstract sign. When you hear the ringing of the dinner bell,
    • during the first year of school — at most also fourths, but not
    • Anthroposophic Press, Spring Valley, N.Y., 1971.]
    • age during which predominantly the third is experienced by human
    • with intuition. The form of the soul's composition during the
    • prove that the head of man experiences music. The string instruments
    • between string and percussion instruments — are evidence of how
    • which is connected with string instruments which have a relation to
    • the piano and thinks that one is hearing other instruments; this is
  • Title: Lecture: Inner Nature of Music: Lecture VII
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    • could offer one of the time spent during sleep. Everything the
    • human being experiences during his waking hours is experienced
    • paradoxical expression — he cannot bring his consciousness into
    • physical-etheric environment or world in which man exists during this
    • waking life. Likewise, man is in another world during sleep; this
    • surrounds us similarly when we sleep. In this lecture we shall bring
    • Anthroposophic Press, Spring Valley, N.Y., 1972.]
    • that during sleep we are indeed in this super-sensible world and have
    • experienced during that same time. We shall turn to the other side of
    • forces of form, have the task of pouring thoughts into all the world
    • Anthroposophic press, Spring Valley, N.Y., 1973.]
    • which the seventh was the smallest. They missed hearing thirds and
    • post-Atlantean age during the period when people lived mainly in the
    • definitely transported in musical life during the true era of the
    • He brings the musical element close to his corporeality. He
    • Lemurian age we discover a musical experience that excludes hearing
    • joy and suffering, exaltation and depression, but one must say that,
    • themselves during their most important human activities — I
    • able to counter this with the resolve, “We shall bring the
  • Title: The Occult Basis of Music
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    • When man creates a work of art, it springs from his image-forming
    • When a man develops these slumbering faculties through concentration,
    • between incarnations, so we can say that during the night the soul
    • the hearing of spiritual music during the night. But the relation of
    • devachanic world. During the night he draws from the world of flowing



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