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Searching Rudolf Steiner Lectures by GA number (GA0283)

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    Query was: third

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 II
    Matching lines:
    • which presents simple daily experiences to man in symbols. The third
    • attains the third state of consciousness when he is capable of
    • becomes more and more pronounced when man approaches the third state
    • with resounding tones. In this third state of consciousness that man
    • predominates over the sentient body. When the minor third is played,
    • but when the major third resounds, it announces the victory of the
  • Title: Lecture: Inner Nature of Music: Lecture III
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    • blood, for instance, is called “water.” Third, we have
  • Title: Lecture: Inner Nature of Music: Lecture V
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    • feeling for the interval of the third. In history we can easily trace
    • how the transition from the feeling for the fifth to the third came
    • about in the world of musical feeling. The feeling for the third is
    • exists for a fifth or a third is absent for an octave. Of course, we
    • is it that man today has an experience of the third? Why is he only
    • experience. All musical forms, however, in which the third and what
    • transition to the experience of the third actually can be traced back
    • of the third signifies at the same time that man feels music in
    • possible to say this only when the experience of the third emerged,
    • until man could experience the third did the subjective element feel
    • of the third. The difference between major and minor keys appears;
    • that the experience of the third begins during the fourth
    • level. The third guides us to our inner being; the octave leads us to
    • exhalation. The third enabled man to experience the continuation of
    • same manner as seventh, fifths, and thirds — today's use
    • thirds, but if one really wishes to reach the child, musical
    • appreciation for the whole third-complex sometime after the age of
    • major and minor third. This is something that appears between ages
  • Title: Lecture: Inner Nature of Music: Lecture VI
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    • by the third and the seventh. You have been able to gather from this
    • to the experience of the third — in both the major and minor
    • third — we arrive at an inner motion of the human being. The
    • organism; man experiences the interval of the third inwardly. In the
    • transition from a third to a fifth — though there is much in
    • therefore can say that in the case of the experience of the third the
    • universe, while the experience of the third is a return of the human
    • third in man's inner being. The experience of the fourth lies
    • know the third; he descended only to the fourth. He did not
    • corresponds to an imagination while the third corresponds to a
    • thirds; it begins to grasp thirds inwardly only from age nine onward
    • age during which predominantly the third is experienced by human
    • by division to the interval of the third. I therefore also had to
    • is from the age in which the third plays the
    • The sentient soul relates to the minor third, the sentient body to
    • the major third. The facts of human evolution are expressed in
    • the third. Man feels transported in the fifth. In the third he feels
    • fourth; he dwells within himself in the third. Only in the future
    • prime, second and third — by backward movements and in the case
    • the musical element is expressed in the third part of man's
  • Title: Lecture: Inner Nature of Music: Lecture VII
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    • intervals of thirds, not even fifths. Their musical experience really
    • which the seventh was the smallest. They missed hearing thirds and
    • the third appeared in the musical element — both major and
    • minor thirds — the musical element submerged itself, as it
    • fifth. In the era of thirds, however, which as you know dawned only
    • the third, therefore, the difference between major and minor keys
    • third and the appearance of major and minor keys, the musical
    • event, passes on to the “era of thirds” and the
    • next higher and the third of the second higher octave. He experienced
    • a kind of objective third, and there he also experienced both major
    • and minor thirds. It is not a third in our sense, of course, because
    • one has an actual third only when I take the prime in the same octave
    • second in the next, third in the third octave — he perceived
    • the fifth to the third, and from the third down to the prime, the

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