AEsthetic AnalysisThomas, Y. Crowell, 1936 - 211 pagine |
Dall'interno del libro
Risultati 1-3 di 27
Pagina 17
... characteristic . And if sounds could not be relied on to have pitches , lying all of them at fixed points in the long line of pitch itself , there would be no way of following one sound by another in time and still having a distinct ...
... characteristic . And if sounds could not be relied on to have pitches , lying all of them at fixed points in the long line of pitch itself , there would be no way of following one sound by another in time and still having a distinct ...
Pagina 51
... characteristic , variations in hue are no more sig- nificant for color composition , no more characteristic of color design , than variations of saturation or of brightness . The order of the hues is cyclical , too , while the orders of ...
... characteristic , variations in hue are no more sig- nificant for color composition , no more characteristic of color design , than variations of saturation or of brightness . The order of the hues is cyclical , too , while the orders of ...
Pagina 52
... characteristic without reference explicitly to any scheme . But the ordinary scheme definitely includes it , and its name , instead of removing it from the scheme , fairly in- dicates its place there , provided we attend to its ...
... characteristic without reference explicitly to any scheme . But the ordinary scheme definitely includes it , and its name , instead of removing it from the scheme , fairly in- dicates its place there , provided we attend to its ...
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absolute pitch abstract accent acquaintance actual adequate æsthetic analysis æsthetic content æsthetic objects æsthetic theory apply apprehended artists asthetic attention basic Berkeley Berkeley blank verse CALIFORNIA LIBRARY called character characteristic clear clearly color variations complex concrete conscious constitute cretely criticism defined definitely degree determinate dimension directly discerned discriminating distinct distinguished Dominant duration elements English poetry exhibited experience expressive fact familiar feeling felt formal function fundamental give grasp hence human human voice iambic pentameter iambs indicated intelligible intrinsic knowledge length means Mediant merely musical scale nature notes obvious octave particular perception physical pitch intervals pitch pattern pitch relations Polyclitus present processes qualitative orders relevant rhythmical scale scheme selected sense sensory sensuous serial orders simply sort sound spatial specific string structure Subdominant syllables systematic temporal aspect temporal pattern tern things timbre tion Tonic trochees UNIVERSITY OF CALIFORNIA vibration rate whole words