Meaning and Truth in the ArtsUniversity of North Carolina Press, 1946 - 252 pagine |
Dall'interno del libro
Risultati 1-3 di 35
Pagina 34
... notes have no assigned referents . Neither ( in this sense ) do the elements in the visual arts . It might be alleged that " Musical notes ( or larger units ) refer to whatever their composers decreed that they should - just as , when I ...
... notes have no assigned referents . Neither ( in this sense ) do the elements in the visual arts . It might be alleged that " Musical notes ( or larger units ) refer to whatever their composers decreed that they should - just as , when I ...
Pagina 57
... notes . He defines “ sense of finality " strictly in terms of the notes themselves : Finality is a function of four stimulus - variables : power of two , sim- plicity of ratio , falling inflection , and width of interval . If three of ...
... notes . He defines “ sense of finality " strictly in terms of the notes themselves : Finality is a function of four stimulus - variables : power of two , sim- plicity of ratio , falling inflection , and width of interval . If three of ...
Pagina 58
... notes ) , but of a certain state of feeling which may result from hearing these sounds . Sup- pose that a listener heard a passage of music fulfilling all of Pro- fessor Pratt's criteria for “ sense of finality ” but failed to have the ...
... notes ) , but of a certain state of feeling which may result from hearing these sounds . Sup- pose that a listener heard a passage of music fulfilling all of Pro- fessor Pratt's criteria for “ sense of finality ” but failed to have the ...
Sommario
PRELIMINARY DISTINCTIONS | 3 |
TRUTH IN THE ARTS | 60 |
THE ARTISTIC RELEVANCE OF TRUTH | 208 |
Copyright | |
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Aristotle artist assertion baroque music beauty Beethoven Bell certainly Cézanne Chapter character Clive Bell colors common composition convention critics described discussed distinction drama Eastman effect El Greco essence esthetic experience esthetic form esthetic surface evocation evoke example expression fact feeling George Santayana give Gurney Hanslick historical I. A. Richards Ibid images imaginative imitate important irrelevant kind knowledge L. A. Reid language life-values listener literary literature Marc Chagall material matter Max Eastman meaning medium merely mind musical experiences natural symbol notion novel objects Odysseus painter painting particular perception person plastic poem poet poetic present Professor Greene program music propositions psychological pure question realism reality refer referential relevant represent representational Roger Fry Santayana sense significant form simply sounds speak statements subject-matter Sullivan T. E. Hulme term theme things tion true true-to truth usage vision visual words