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Query was: piano

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 Teachings of Soul/World: Course V: Lecture II: What Do Our Scholars Know about Theosophy?
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  • so that we understand each other precisely. Somebody plays a sonata on a piano.
  • musical ear. But there stands a piano, in it strings are stretched. These strings
• Title: Spiritual Teachings of Soul/World: Course IV: Lecture IV: The History of Hypnotism and Somnambulism
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  • who can produce whole melodies, piano playing et cetera by ventriloquism. Who
• Title: Supersensible Knowledge: Lecture XII: Richard Wagner and Mysticism
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  • string quartet, and piano sonata.
• Title: Where/How/Spirit: Lecture XI: The Invisible Human Members and Practical Life
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  • we play a piano piece once is in our astral body; the fact that
• Title: Spirit and Matter: Lecture IV: Human Soul and Human Body Considered Scientifically and Spiritual-Scientifically
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  • with piano playing and the like, from that which one calls
  • movement. If we play piano, for example, or have similar
• Title: Lecture: The Manicheans
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  • For example, an excellent piano technique is good, but if the
  • executant wanted to hammer it out on the piano in the concert hall,
• Title: Temple Legend: Lecture 6: Manicheism
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  • pianist and an excellent piano technician, both
  • piano and then hand it over to the pianist. If the latter is a good
• Title: Foundations of Esotericism: Lecture III
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  • hairs. Each of these is tuned, like the strings of a piano, to a
• Title: Theosophy and Rosicrucianism: Lecture V: Metamorphoses of Our Earthly Experiences in the Spiritual World
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  • piano which is out of tune. Spiritual science, can give most
• Title: Gospel of John: Lecture XII: The Nature of the Virgin Sophia and of the Holy Spirit
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  • playing a selection on the piano, holds to the composer of
• Title: Toward Imagination: Lecture 2: Blood and Nerves
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  • to have his wife play the piano for him in the evening; yet he considered
  • listening to it at all. So she played the piano for him, but he understood
  • them to piano music. He loved these detective novels, the kind of trashy
• Title: Karma of Vocation: Lecture I
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  • supposed. In telling how he practiced the piano,
• Title: Karma of Vocation: Lecture III
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  • piano lessons,
• Title: Lecture: The Cyclic Movement of Sleeping and Waking
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  • piano lessons not only the part of the human being which is
• Title: Life Gifts: Lecture III: Thoughts about the Life Between Death and Rebirth
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  • his piano is worn out we cannot perceive this. If you were
  • you will not be able to gather much if the piano is out of
• Title: Karmic Relationships, Volume I: Lecture VII
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  • to hire a piano for his own use. In outward demeanour — Spaun
• Title: Anthroposophic Movement: Lecture Six: The Emergence of the Anthroposophic Movement
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  • certain ways, particularly when he played the piano in that
• Title: Anthroposophic Movement (1938): Lecture VI: The Two First Periods of the Anthroposophic Movement
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  • the piano; it was pleasant to go to tea with him, and so forth.
• Title: Eurythmy as Visible Singing: Lecture 3: Melodic Movement; the Ensouling of the Three Dimensions through Pitch, Rhythm and Beat
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  • this state of indifference, sit down at the piano and play one of the
  • and the notes as you play them successively on the piano.
• Title: Eurthmy as Visible Singing: Lecture 5: Choral Eurythmy
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  • than learning to play the piano, or learning to sing.
• Title: Eurythmy as Visible Singing: Lecture 6: The Sustained Note; the Rest; Discords
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  • (Fig. 11 From Mozart's Piano Sonata in F major (K.332), III, bars
  • to this example, taken from Mozart's Piano Sonata in F major, where
• Title: Eurythmy as Visible Singing: Lecture 8: Pitch (ethos and pathos), Note Values, Dynamics, Changes of Tempo
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  • from the will, whereas in piano the will-impulse is lacking. Here, then,
• Title: Poetry/Speech: Lecture II: The Art of Recitation and Declamation
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  • piano (if I may so express myself) where we experience the pulse
• Title: Poetry/Speech: Lecture IV: Poetry and the Art of Speech
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  • composes a piano work will, of course, also have in his
  • characteristic sound-pattern and tone – of the piano in this
  • piano-playing, though the study must in many respects be pursued
  • piano.
• Title: Inner Nature of Music: Lecture III
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  • kind of piano. There are a number of delicate fibers inside the ear,
• Title: Inner Nature of Music: Lecture V
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  • d-sharp. Now, disorder comes in — as you can see on the piano —
• Title: Inner Nature of Music: Lecture VI
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  • piano they have been derived from the spiritual world.
  • orchestra is an image of man; it must not include a piano, however.
  • world; the piano, however, in which the tones are abstractly lined up
  • higher world. A piano is like the Philistine who no longer contains
  • The piano is the Philistine
  • the Philistine would have no music at all. The piano arises out of a
  • piano could become an expression of the musical element. Naturally,
  • the piano is a beneficial instrument — otherwise, we would have
  • from the impressions of the piano if he wishes to experience the
  • as Bruckner, is played on the piano. In Bruckner's
  • compositions, the piano seems to disappear in the room! One forgets
  • the piano and thinks that one is hearing other instruments; this is
• Title: Practical Course/Teachers: Lecture VII: The Teaching in the Ninth Year - Natural History - the Animal Kingdom
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  • nature. That is why, for instance, he took no pleasure in piano
  • interest in piano lessons when he was shown the function of the
  • thumb and the index-finger are applied in playing the piano. He
• Title: Spiritual Ground: Lecture IV: Body Viewed from the Spirit
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  • the piano. And as in the case of music, so it is also, in a finer,
• Title: Child's Changing Consciousness: Lecture VIII
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  • piano during music lessons, or from the children's singing
• Title: Education: Lecture IX: Arithmetic, Geometry, History
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  • on a piano, and it is only by dint of coercion that he will take it
• Title: Education: Lecture XI: Memory, Temperaments, Bodily Culture and Art
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  • obviously a child with no hands cannot be taught to play the piano. The
  • a child with no hands to play the piano, one cannot rid a child whose
• Title: Human Values in Education: Lecture II
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  • the fingers of someone playing the piano and then named one
• Title: Kingdom of Childhood: Lecture 2
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  • Remember how Goethe learnt to play the piano as a boy. He was
• Title: Kingdom of Childhood: Lecture 6
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  • into the objective instrument, for which purpose the piano, which
• Title: Evolution, Earth, Man: Lecture XIV
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  • an enormous error! Why can a man standing here see the piano over
  • His eyes are not over there in the piano. In exactly the same way —
• Title: Reincarnation and Immortality: Lecture III: The Supersensible Being of Man
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  • it. But, lo and behold! one day at the piano as he played a
• Title: Reincarnation and Immortality: Lecture V: Mystery of the Human Being
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  • complicated than a Steinway piano.
  • nothing that is any more explicable than a Steinway piano. So
  • as complicated as a Steinway piano. Thus we have to imagine
• Title: Lecture: The Human Soul and the Human Body
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  • “practice,” let us say in playing the piano, or in
  • will. And if, for instance, we play the piano or have acquired
• Title: Young Doctors Course: Lecture II
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  • of piano. It has become common to apply to the sense organs
• Title: Social Basis For Primary and Secondary Education: Lecture III
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  • definite time was to be given to the piano, a definite time to singing,