AEsthetic AnalysisThomas, Y. Crowell, 1936 - 211 pagine |
Dall'interno del libro
Risultati 1-3 di 59
Pagina 39
... merely to hear a simple melody , we must grasp pitch relations . The of them at the minimum appears to be per- ) grasp ception , not conceptual understanding . But the difference between perceiving clearly and understanding distinctly ...
... merely to hear a simple melody , we must grasp pitch relations . The of them at the minimum appears to be per- ) grasp ception , not conceptual understanding . But the difference between perceiving clearly and understanding distinctly ...
Pagina 62
... merely ab- stract and logical is only to repeat that they are intelligible , that they are capable of embracing such determinateness as all actual knowledge must have in its objects to make them into objects for it at all , and not merely ...
... merely ab- stract and logical is only to repeat that they are intelligible , that they are capable of embracing such determinateness as all actual knowledge must have in its objects to make them into objects for it at all , and not merely ...
Pagina 146
... merely sensuous than have artists and critics in their efforts to uphold the cause of the arts on the ground of their essen- tial spirituality . One might gather from what they say that the reality of art is not sensuous content at all ...
... merely sensuous than have artists and critics in their efforts to uphold the cause of the arts on the ground of their essen- tial spirituality . One might gather from what they say that the reality of art is not sensuous content at all ...
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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