AEsthetic Analysis |
Dall'interno del libro
Risultati 1-3 di 41
Pagina 93
CHAPTER IV TEMPORAL PATTERNS : VERSE RHYTHM THE test of any
scheme of analysis comes with its I application to actual forms of art in actual
artistic works . That would be reason enough for spending the effort here to
discriminate ...
CHAPTER IV TEMPORAL PATTERNS : VERSE RHYTHM THE test of any
scheme of analysis comes with its I application to actual forms of art in actual
artistic works . That would be reason enough for spending the effort here to
discriminate ...
Pagina 108
... along with the further subdivisions of this in various ways , that is most
characteristic . We do speak of a slow or a quick rhythm ; but we speak much
oftener , and perhaps more naturally , of a three - rhythm , or a two - rhythm ,
meaning by the ...
... along with the further subdivisions of this in various ways , that is most
characteristic . We do speak of a slow or a quick rhythm ; but we speak much
oftener , and perhaps more naturally , of a three - rhythm , or a two - rhythm ,
meaning by the ...
Pagina 113
But as bar - lines and time signatures help enormously to indicate at least one
aspect of musical rhythm clearly , so the making out of the strictly temporal aspect
of verse as measured and numbered should be a clarification of at least part of ...
But as bar - lines and time signatures help enormously to indicate at least one
aspect of musical rhythm clearly , so the making out of the strictly temporal aspect
of verse as measured and numbered should be a clarification of at least part of ...
Cosa dicono le persone - Scrivi una recensione
Nessuna recensione trovata nei soliti posti.
Altre edizioni - Visualizza tutto
Parole e frasi comuni
abstract accent actual adequate ęsthetic analysis appears apply apprehended artists aspects attention basic basis become body called character characteristic clear clearly color complex concrete conscious constitute counts course criticism defined definitely determinate direct directly discriminating distinct distinguished division Dominant duration effect elements example exhibited experience expressive fact familiar feeling felt field formal function fundamental give given grasp grouping hence human indicated individual intelligible intensity interest intervals intrinsic involved knowledge least length less LIBRARY limited mark matter means measure merely nature notes object obvious octave once organism particular physical pitch possible present processes qualitative range relations relevant response rhythm scale scheme selected sense sensuous simply single sort sound spatial specific structure surface systematic taken temporal pattern things tion Tonic UNIVERSITY OF CALIFORNIA variations various verse vibration whole