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

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
    Matching lines:
    • The Essence of Music and the Experience of Tone.
    • Das Wesen des Musikalischen und das Tonerlebnis im Menschen.
    • Human Expression through Tone and Word.
    • The Inner Nature of Music and the Experience of Tone: Lecture IV.
  • Title: Lecture: Inner Nature of Music: Lecture I
    Matching lines:
    • The Inner Nature of Music and the Experience of Tone
    • what the origin is of the artistically formed tones and what they are
    • will rules the entire world. It forms the stones, then brings forth
    • plants from the stones, and so on, because it is always discontent. A
    • the will. Tone, however, is a direct expression of the will itself,
    • engaged with tone, he puts his ear to the very heart of nature
    • of tones. In this way, according to Schopenhauer, man stands in an
    • but announces itself first as a world of tone. In this state of
    • perceive tone combinations and varieties of tone inaudible to the
    • one should not believe that when man hears the world of tone welling
    • world of tone is permeated also with the light and colors that belong
    • Devachanic world, however, is this flowing ocean of tones. From this
    • world of the continuity of consciousness, man can bring the tone
    • element down with him and thus hear the tone element in the physical
    • A tone lies at the foundation of everything in the physical world.
    • tones. All objects have a spiritual tone at the foundation of their
    • tone. On this basis, Paracelsus said, “The realms of nature are
    • flowing tone, as the element from which it is actually woven and
    • into physical tone. Unconsciously, the musician has received the
    • man lives and weaves in the world of flowing tones, he himself is
    • Maximum number of matches per file exceeded.
  • Title: Lecture: Inner Nature of Music: Lecture II
    Matching lines:
    • The Inner Nature of Music and the Experience of Tone
    • something that is light. Likewise, the ear can sense only tone
    • the melodies and harmonies of tones, is nature's direct
    • tones. The musician thus stands closer to the heart of the world than
    • with resounding tones. In this third state of consciousness that man
    • stillness.” Through the great stillness, the tone of this other
    • not describe how a tone rings out from the other side are incorrect
    • and are not based on actual perception. Resounding tone is the
    • however, lies in tone. That which was light in the great stillness
    • a still higher plane of Devachan, tone becomes something akin to
    • physical world in his choice of the tones and color harmonies that he
    • seen these tones, these shining colors? Where has he experienced
    • Devachanic world, the soul absorbs into itself the world of tones.
    • element of music, an ocean of tones. A musical person is one whose
    • and the tones and melodies here. We experience musical pleasure when
    • outer tones correspond with those within.
    • sleep with the inner vibrations to intensify these tones and to
    • astral corporeality, but the world of tone speaks to the innermost
    • work of an architect, built in stone to withstand centuries, is
    • flows back to it again, so do its shadows, the tones, the harmonies.
  • Title: Lecture: Inner Nature of Music: Lecture III
    Matching lines:
    • The Inner Nature of Music and the Experience of Tone
    • plane in music and generally in the life of tones. We mentioned that
    • tone.
    • that reached him from outside. Man came to receive tone from outside
    • each of which is tuned to a certain tone. The ear does not alter what
    • space in the same way he perceives tone today. Now the sense of space
    • The sense of space perceives space; the ear perceives tone, which
  • Title: Lecture: Inner Nature of Music: Lecture IV
    Matching lines:
    • The Inner Nature of Music and the Experience of Tone
    • which stems from the elements of sound and tone. It is especially
    • expression through tone and word to the cosmological considerations
    • between man's life in that which corresponds to tone and sound
    • reveals in sound and tone. How much he is contained within this is
    • times of man's earthly evolution, his sound and tone
    • culmination. When a human being brings forth a tone or sound, his
    • discover a self-expression of the human being in each word and tone.
    • added to producing the tone, as in the case of singing, the element
    • a tone and a c-sharp tone in a certain octave. As soon as one
    • our body (sketch on left, white) and a vowel tone (red) pushes
    • against it. Beyond, in the spiritual world, we have the vowel tone
    • it so that the tone becomes the soul's body.
    • within the creative tone, the creative world. Picture the tone here
    • on earth, even the tone that reveals itself as sound: on earth it
    • of the air is the tone is a naïve concept indeed. Imagine
    • to comprehend man, however, by the ground he stands on. Likewise, tone
    • in a somewhat more complicated way — tone has its ground, its
    • resistance, in the air. Air has no more significance for tone than
    • the ground for the person who stands on it. Tone rushes toward air,
    • Maximum number of matches per file exceeded.
  • Title: Lecture: Inner Nature of Music: Lecture V
    Matching lines:
    • The Inner Nature of Music and the Experience of Tone
    • appreciation does tone physiology (acoustics) have anything to say
    • about the musical element. It is widely admitted that there is a tone
    • physiology only for sounds; there is none for tones. With the means
    • tone up to the seventh. While the seventh is still felt in relation
    • statement, “I hear the tone or I hear a melody with my ear.”
    • That is completely wrong ” a tone, a melody, or a harmony actually is
    • the tones we ordinarily take into consideration have as their medium
    • the element in which tone lives is still in the air. What we
    • experience in tone, however, no longer has anything to do with the
    • tone before our experience of tone. In experiencing tone as such, we
    • the airborne tone back into the inner being of man in such a way that
    • it separates out the air element; then, in that we hear it, the tone
    • may express it in this way — actually to overcome the tone's
    • resounding in the air and to hurl the pure etheric experience of tone
    • sensation of tone.
    • we must understand the entire tone experience in man more deeply. I
    • tone experience. We say so lightly that man is a threefold being:
    • conditions, this is as true as can be. For the tone experience,
    • the basis of the lower tones of an octave, namely c, c-sharp, d and
    • Maximum number of matches per file exceeded.
  • Title: Lecture: Inner Nature of Music: Lecture VI
    Matching lines:
    • The Inner Nature of Music and the Experience of Tone
    • the range of seven octaves — from the contra-tones up to the
    • tones above c — and consider that it is possible for the fifth
    • spiritual element incarnated into the tones of song, which in turn
    • that in relation to music he carried a certain circle of tones within
    • himself that reached downward, excluding the realm of tones below the
    • contra-c. Upward, it did not reach the tones beyond c but was a
    • already understands the tone, but the actual element of harmony can
    • it comes to acoustics, or tone physiology, there is nothing to be
    • gained. Acoustics has no significance, except for physics. A tone
    • sensitive to the single tone.
    • appear in our tone eurythmy. You will also grasp something else. You
    • of the upper tones — the fifth, sixth, and seventh — by
    • tone, in the musical tone structure. The spiritual fades away; man
    • retains the tone structure. Later, he links it with the word, which
    • world; the piano, however, in which the tones are abstractly lined up
  • Title: Lecture: Inner Nature of Music: Lecture VII
    Matching lines:
    • The Inner Nature of Music and the Experience of Tone
    • cosmic forces over everything existing in the world of colors, tones,
    • tone of c-sharp or g. Since this transference of thoughts, man feels
    • experience of tone structure was completely different, and the soul
    • had a completely different relationship to the tone structure. One
    • of tones draws my ‘I’ and my astral body out of my
    • the divine-spiritual world, and, on the wings of the tone structure,
    • perceive the tones.”
    • first tone of the following octave. It is difficult to put into words
    • and the tone that I refer to as being the second-nearest to the
    • single tone, at which time the secret of individual tone will be
    • intervals but will be able to experience the single tone with the
    • single tone, and so forth. What was once the loss of the divine must
  • Title: The Occult Basis of Music
    Matching lines:
    • and the Experience of Tone. In the collected edition of Rudolf
    • Das Wesen Des Musikalischen und Das Tonerlebnis Im Menschen.
    • The Inner Nature of Music and the Experience of Tone
    • Will. It shapes the stone and then the plant — but always, in
    • tones resounding, he loses the world of light and colours. The world
    • of tones is shot through with light and colours, but they belong to
    • endlessly flowing and changing ocean of musical tones. When continuous
    • consciousness extends to this world, its tones can be brought over,
    • and it is then possible to hear also the ground-tones of the physical
    • rejoices in flowing tones of music: they are the very element out of
    • spiritual tones and rhythms. The ether-body is lower than the astral
    • tones the strength to carry them over into his sentient body and his
    • tones echo in the ether-body, overcoming the ether-body's own natural
    • arises between the sentient body and the ether-body. If the tones set
    • up in the sentient body are so strong that they master the tones of
    • tones, and in touch with the true home of his spirit.



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