AEsthetic AnalysisThomas, Y. Crowell, 1936 - 211 pagine |
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Pagina 73
... degree of the scale on the fundamental , and the sixth degree of the scale . Thus the ratios that we find are , in the order of their magnitude : 2 I 9/8 5/4 4/3 3/2 5/3 ( 16 % ) 15 % I II III IV V VI ( VII - flat ) VII VIII With the ...
... degree of the scale on the fundamental , and the sixth degree of the scale . Thus the ratios that we find are , in the order of their magnitude : 2 I 9/8 5/4 4/3 3/2 5/3 ( 16 % ) 15 % I II III IV V VI ( VII - flat ) VII VIII With the ...
Pagina 135
... degree of brightness ) , we find the whole range of sounds or colors serially ordered with reference to these ... degree of brightness and a degree of satura- 135 RELEVANCE IN ESTHETIC ANALYSIS: EXPRESSED FEELING AS FOCUS OF ...
... degree of brightness ) , we find the whole range of sounds or colors serially ordered with reference to these ... degree of brightness and a degree of satura- 135 RELEVANCE IN ESTHETIC ANALYSIS: EXPRESSED FEELING AS FOCUS OF ...
Pagina 202
... degree they have them , it is plain that the ade- quately functioning critic will have a whole set of such criteria at his disposal to apply . It is equally plain that the standards cited in the history of criticism , when they are not ...
... degree they have them , it is plain that the ade- quately functioning critic will have a whole set of such criteria at his disposal to apply . It is equally plain that the standards cited in the history of criticism , when they are not ...
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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