[317] mathematical proportions. And since they saw the movement of the heavenly bodies, they derived from this the theory that they must produce a sound, and since they are ordered harmoniously, a harmonious sound. They called it the music of the spheres which nobody can hear, because we always hear it, it is always present, and so we cannot hear it as a special thing, but it is something accompanying us, like light or gravitation, or those things which we don't realize any more, but which are there. There is a Psalm in the Old Testament which has a very similar idea, that the heavens and the earth always sing the praise of God by themselves. Now this means---and that is my emphasis here---that MUSIC^a ALSO reveals a level of reality

which otherwise would be hidden, and not only a level of our soul. One should not put music into the realm of mere subjectivity. The harmonies which are given and which cannot be changed are in nature itself, they are characteristics of vibrating, swinging bodies---you cannot change this. They express something about the nature of our world. These are symbols^b, therefore, which point to something which also cannot be reached in any other way. Symbols of dance^c: they combine the musical and the visual. This makes them more than and less than the two others. Combined arts

are always more and less at the same time. They cannot use all the possibilities of exclusive arts. But in dance, we have the combination, the expression not of the body, as in sculpture, but of the moving body, and moving only in unity with music. Now here you have a confirmation of what I said that music expresses something about bodies, about the heavenly bodies and all bodies. The self- expression of dance in moving bodies is in itself a symptom for what I said, and is a symbol of a