AEsthetic AnalysisThomas, Y. Crowell, 1936 - 211 pagine |
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Risultati 1-3 di 61
Pagina 47
... fact that we have here a basic structural possibility , the necessary condition of melody , for example , in so far as melody is pitch pat- tern made up of a succession of notes at distinguishable intervals from one another , and heard ...
... fact that we have here a basic structural possibility , the necessary condition of melody , for example , in so far as melody is pitch pat- tern made up of a succession of notes at distinguishable intervals from one another , and heard ...
Pagina 64
... facts involved . But now that we know these facts in clear general outline , it becomes easy to see how , in the selection of the scale notes , human ears were guided by the nature of the physical conditions of sound production . We can ...
... facts involved . But now that we know these facts in clear general outline , it becomes easy to see how , in the selection of the scale notes , human ears were guided by the nature of the physical conditions of sound production . We can ...
Pagina 170
... fact . And the fact in question , if it is relevant , is the critic's ade- quate grasp of the artist's own means within his own me- dium carried out in the light of his own intention to the unity of feeling that his work expresses ...
... fact . And the fact in question , if it is relevant , is the critic's ade- quate grasp of the artist's own means within his own me- dium carried out in the light of his own intention to the unity of feeling that his work expresses ...
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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