XI. Rhythm in Education

If you understand the spirit of what I have just presented, you will recognize how everywhere there has been an attempt to work with this unconscious element. I have done that first by showing how the artistic element is necessary right from the very beginning of elementary school. I have insisted that we should use the dialect that the children speak to reveal the content of grammar, that is, we should take the children’s language as such and accept it as something complete and then use it as the basis for presenting grammar. Think for a moment about what you do in such a case. In what period of life is speech actually formed? Attempt to think back as far as you can in the course of your life, and you will see that you can remember nothing from the period in which you could not speak. Human beings learn language in a period when they are still sleeping through life. If you then compare the dreamy world of the child’s soul with dreams and with how melodies are interwoven in music, you will see that they are similar. Like dreaming, learning to speak occurs through the unconscious, and is something like an awakening at dawn. Melodies simply exist and we do not know where they come from. In reality, they arise out of this sleep element of the human being. We experience a sculpting with time from the time we fall asleep until we awaken. At their present stage of development human beings are not capable of experiencing this sculpting with time. You can read about how we experience that in my book How to Know Higher Worlds. That is something that does not belong to education as such. From that description, you will see how necessary it is to take into account that unconscious element which has its effect during the time the child sleeps. It is certainly taken into account in our teaching of music, particularly in teaching musical themes, so that we must attempt to exactly analyze the musical element to the extent that it is present in children in just the same way as we analyze language as presented in sentences. In other words, we attempt to guide children at an early age to recognize themes in music, to actually feel the melodic element like a sentence. Here it begins and here it stops; here there is a connection and here begins something new. In this regard, we can have a wonderful effect upon the child’s development by bringing an understanding of the not-yet-real content of music. In this way, the child is guided back to something that exists in human nature but is almost never seen.