AEsthetic AnalysisThomas, Y. Crowell, 1936 - 211 pagine |
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Pagina 121
... tion per second is in general not a difference in pitch for ears , and so not a difference in æsthetic structure in pitch , so measures of irregularity in time pattern in units of small fractions of a second may occur as the record of a ...
... tion per second is in general not a difference in pitch for ears , and so not a difference in æsthetic structure in pitch , so measures of irregularity in time pattern in units of small fractions of a second may occur as the record of a ...
Pagina 136
... tion of color contrast between them in one or more of the series , a contrast that is directly apprehended as color de- sign . This contrast is properly to be called structural— serves , that is , to constitute discernible form - in ...
... tion of color contrast between them in one or more of the series , a contrast that is directly apprehended as color de- sign . This contrast is properly to be called structural— serves , that is , to constitute discernible form - in ...
Pagina 207
... tion , 169 ; distinguished from the beautiful , 3 , 10 , 43 , from the fine arts , 4 , 26 , from language , 92 , 144 , 148 , 162 , from the practical , 6 , 142 , from physics and psy- chology , 10 , from the sciences generally , 173 ...
... tion , 169 ; distinguished from the beautiful , 3 , 10 , 43 , from the fine arts , 4 , 26 , from language , 92 , 144 , 148 , 162 , from the practical , 6 , 142 , from physics and psy- chology , 10 , from the sciences generally , 173 ...
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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