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Searching Rudolf Steiner Lectures by GA number (GA0305)

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    Query was: rhythm

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: Spiritual Ground: Lecture II: Spiritual Disciplines of Yesterday: Yoga
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    • classification of vowels and consonants in his Dramatic and Eurhythmy
    • for help (The gesture of M is meant. See Eurhythmy.). A by itself
  • Title: Spiritual Ground: Lecture III: Spiritual Disciplines of Yesterday and To-day
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    • with what may be called the Rhythmic system in the human being:
    • it is bound up with rhythm, the rhythm of breathing, the rhythm of blood
    • of pulse rhythm and breath rhythm, and its connection in turn with the
    • more extended rhythmic life of the human being, that constitutes the
    • rhythmic nature of man, — a second nature over against the head
    • or nerve nature. The rhythmic system includes the rhythm we experience
    • when we sleep and awaken. This is a rhythm which we often turn into
    • non-rhythm nowadays — but it is a rhythm. And there are many other
    • such rhythms in human life. Human life is not merely built up on the
    • life of nerves, on the nervous system, it is also founded in this rhythmic
    • with the rhythmic system.
    • nervous life; feeling finds its direct expression in the rhythmic
    • system. Only when we begin to conceive of our rhythmic system, when we
    • Its direct connection is with the rhythmic life. And one simply cannot
    • related to blood-circulation, how this whole rhythm is apparent, for
    • that is connected with the rhythmic life. And on the other hand one
    • know what lives immediately in the rhythmic life, and how this is
    • as the rhythm of the BREATHING SYSTEM and the BLOOD SYSTEM, and this
    • system of what comes to psychic expression as will, or in the rhythmic
  • Title: Spiritual Ground: Lecture IV: Body Viewed from the Spirit
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    • organism, his feeling is bound up with the rhythmic system,
    • child, up to the seventh year, nerve-senses activity, rhythmic
    • is the rhythmic system which preponderates, which has the upper hand.
    • thing is to work with the child's rhythmic system, and everything
    • which works upon some-thing other than the rhythmic system is wrong.
    • But now what is it that works upon the rhythmic system? It is
    • art that works upon the rhythmic system, everything that is
    • rhythmic system. Music is nothing else but rhythm carried over into
    • the rhythmic system of the human being himself. The inner man himself
    • becomes a lyre, the inner man becomes a violin. His whole rhythmic
    • rhythmic processes in the inner man. If our instruction is to be truly
    • child's rhythmic system.
    • accumulated and which sin directly against this appeal to the rhythmic
    • should do, to the rhythmic system, but to some other system. For
    • throughout life the rhythmic system never tires. Throughout the whole
    • know that we have to appeal to his rhythmic system we know that what
    • paid too little attention to the rhythmic system. When we find a child
    • will only do on reaching puberty, when the rhythmic system has
    • mind. For, since the rhythmic system is particularly active in the
    • we give him the right preparation during the rhythmic period of his
    • Maximum number of matches per file exceeded.
  • Title: Spiritual Ground: Lecture V: How Knowledge Can Be Nurture
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    • run round in a kind of eurhythmy, and getting them to experience the
    • this stage — not so much to musical content as to the rhythm and
    • beat of the music, the experience of rhythm and beat; and especially
    • the eurhythmy demonstration that we also introduce eurhythmy into
    • children's education. I shall be speaking further of eurhythmy, and in
    • particular of eurhythmy in education, in a later lecture. For the
  • Title: Spiritual Ground: Lecture VI: The Teacher as Artist in Education
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    • human being. The rhythmic system — breathing system and system of
    • puberty. When the child is nearly ten years old the beat and rhythm of
    • years the human being builds up his own rhythmic system in the way
    • is reached, then what is within the rhythmic system and muscular
    • sanguine child is one in whom the activity of the rhythmic system
    • predominates in a marked degree. The rhythmic system, which is the
    • to acquaint you better with Eurhythmy — that art of movement which
    • out the colours and forms of eurhythmy and something of its inner
  • Title: Spiritual Ground: Lecture VII: The Organisation of the Waldorf School
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    • eurhythmy lessons. This is so that the child may as far as possible
  • Title: Spiritual Ground: Lecture VIII: Boys and Girls at the Waldorf School
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    • Eurhythmy in the section following.
    • Let me now say a few words on the significance of Eurhythmy teaching
    • and the educational value of eurhythmy for the child. In illustration
    • of eurhythmy. The immediate object of these figures is to help in the
    • appreciation of artistic eurhythmy. But I shall be able to make use of
    • them to explain some things in educational eurhythmy. Now, eurhythmy
    • expressed is transposed into the movement. Hence eurhythmy is an art
    • by feeling. We can also do this in eurhythmy. In this way a strong
    • unconscious momentum plays into the eurhythmy. If the performer, the
    • eurhythmist, can bring this feeling into his movements in an artistic
    • of feeling. But the eurhythmy performer must have the inner power to
    • nuance in the language of eurhythmy.
    • of will. This can only be introduced into eurhythmy when the performer
    • does eurhythmy makes a great difference to his appearance. Whether,
    • organism. Thus the art of eurhythmy is really composed of the
    • Where the object is to exhibit the features of eurhythmy those parts
    • eurhythmy. If we had figures here with beautifully painted noses and
    • eurhythmy that is not the point; what you see painted, modelled or
    • carved here is solely what belongs to the art of eurhythmy in the
    • human being doing eurhythmy.
    • Maximum number of matches per file exceeded.
  • Title: Spiritual Ground: Lecture IX: The Teachers of the Waldorf School
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    • experiments carried out to find the relationship between the rhythm of

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