VII. Musical Physiology; the Point of Departure; Intervals; Cadences

Now, because speech eurythmy is more bound up with the sense of the words, it will not be quite so noticeable if feeling does not accompany the activity. But if the movements of tone eurythmy are not permeated through and through with feeling the whole thing becomes utterly meaningless. If your feelings are not incorporated just as I have indicated today for the scale, the audience will feel the movements as arbitrary and disjointed. Everything depends upon your feeling: Here the upper arm begins, and you form the keynote—or whether you feel: A humanly-felt impulse is situated here in the upper arm, and you fashion the second in the way I told you yesterday. These feelings determine whether the movements which you carry out for any progression of notes appear filled with human motivation or whether they appear unmotivated. For in everything artistic, nothing is as important as motivation.