12. The Relationships Between Spiritual Science and Individual Academic Subjects II

It is interesting – I have already pointed this out in the book 'Von Seelenrätseln' – to examine the musical experience under these conditions. Anyone who has ever studied the analysis of the musical experience will know how much of this musical experience is thoroughly emotional, but how this emotionality must be related to the life of the imagination. Otherwise we could not bring differentiated melody into the musical experience; we could not even have the individual tone in its objective grasp if the imaginative experience did not come together in some way with the emotional experience in the overall musical experience. But it is emphasized again and again, and rightly so, that the main thing in the musical experience is the emotional experience. And people like Eduard Hanslik, in his book 'On Musical Beauty', go too far when they want to eliminate the emotional experience altogether and see the musical more or less only in the experience of tonal arabesques. But this musical experience must be analyzed further. Then we come to relate this musical experience, which in objectivity corresponds to something rhythmic and related to rhythm, to that which, so to speak, runs musically within us: to the processes of our rhythmic system. One can now follow in a complete way how, through the inhalation process, the cerebral fluid is pushed through the spinal canal towards the brain, how it, as it were, bumps into the brain and how it in turn swings down during the exhalation process. One can follow how the rhythm is now also modified by the modification of the breathing process in this ascending and descending cerebral fluid. And if we approach this view with the same objectivity as we do other objective views of the external world, we will come to examine how, for example, the breathing experience is modified in song. We will find something that is expressed in song as a musical experience in the breathing experience; we will find the breathing experience in the oscillating brain water. We shall then recognize the union of this rhythmic process in the human organism with the nerve-sense process in the brain, and thus recognize the interaction of the rhythmic system and the nerve-sense system. And then we shall be able to separate what corresponds to the emotional experience, which in the human organism is entirely the rhythmic system.