AEsthetic AnalysisThomas, Y. Crowell, 1936 - 211 pagine |
Dall'interno del libro
Risultati 1-3 di 26
Pagina 49
... dimension of loudness- softness that makes them possible as integral elements in genuine musical composition . And here again there is not mere variation or mere contrast or similarity , but distin- guishable degrees of similarity and ...
... dimension of loudness- softness that makes them possible as integral elements in genuine musical composition . And here again there is not mere variation or mere contrast or similarity , but distin- guishable degrees of similarity and ...
Pagina 80
... dimensions . But while the facts of harmony and contrast , and hence of all color design as such , depend absolutely ... dimension . Even the hues num- ber three or four or seven or twelve or twenty - four , de- pending on what scheme we ...
... dimensions . But while the facts of harmony and contrast , and hence of all color design as such , depend absolutely ... dimension . Even the hues num- ber three or four or seven or twelve or twenty - four , de- pending on what scheme we ...
Pagina 138
... dimensional manifold of pitch ; and the two combine to define a distance measured along this dimension as a great or a small pitch interval . The serial ranges relating sensory variations are then the essential basis , the actual ...
... dimensional manifold of pitch ; and the two combine to define a distance measured along this dimension as a great or a small pitch interval . The serial ranges relating sensory variations are then the essential basis , the actual ...
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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