A Modern Book of Esthetics: An AnthologyMelvin Miller Rader Holt, 1952 - 602 pagine |
Dall'interno del libro
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Pagina 246
... pitch , and every distinct pitch is either above or below any other pitch that we may choose . Thus all sounds are related in a single order , every sound to every other sound . We might simply say that sounds are pitch- related . But ...
... pitch , and every distinct pitch is either above or below any other pitch that we may choose . Thus all sounds are related in a single order , every sound to every other sound . We might simply say that sounds are pitch- related . But ...
Pagina 247
... pitch than B , then C is higher in pitch than A. It is clear then that every sound ( and we distinguish sounds from noises by just this criterion that they have clearly perceptible pitch ) lies in this single linear series of pitches ...
... pitch than B , then C is higher in pitch than A. It is clear then that every sound ( and we distinguish sounds from noises by just this criterion that they have clearly perceptible pitch ) lies in this single linear series of pitches ...
Pagina 248
... pitch , our control , far from being thus negligible , is both accurate and of the wide range defined by many instru- ments . And what in smell or taste corresponds to pitch in sound ? That aspect of an odor or a taste , no doubt , that ...
... pitch , our control , far from being thus negligible , is both accurate and of the wide range defined by many instru- ments . And what in smell or taste corresponds to pitch in sound ? That aspect of an odor or a taste , no doubt , that ...
Sommario
Reality and Imagination | 3 |
Having an Experience From Art as | 62 |
Intuition | 89 |
Copyright | |
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abstract activity ANDREW CECIL BRADLEY appears appreciation Aristotle artist aspect attitude beauty become called character Clive Bell color concrete consciousness contemplation contextualist criticism discourse Distance distinction distinguished dream effect elements empathy esthetic emotion esthetic experience esthetic value existence expression external reality fact feeling genotype give Gurney HERBERT READ human I. A. Richards ideas images imagination imitation impulse individual instinctive interest intrinsic intuition isolationist JOHN HOSPERS judgment kind language latent content live machine manifest content material means Melvin Rader ment merely mind moral nature object objectified organic painting patterns perceived perception person phantasies Philosophy physical picture play pleasure poem poet poetic poetry practical present principle produce psychological pure question relation rhythm rience scientific sensations sense sensuous significance social soul sound super-ego taste THEODORE MEYER theory things tion truth unity Vernon Lee whole WILHELM WORRINGER words