Esthetic AnalysisT.Y. Crowell, 1936 - 211 pagine |
Dall'interno del libro
Risultati 1-3 di 14
Pagina 9
... perception . And to any conscious perception at all some degree of emotion is requisite , if it is no more than the excitement of the attention that brings it to a focus . The concrete object of asthetic perception is just this ...
... perception . And to any conscious perception at all some degree of emotion is requisite , if it is no more than the excitement of the attention that brings it to a focus . The concrete object of asthetic perception is just this ...
Pagina 30
... perception of such isolated elements that the æsthetic aspect of the world first comes to us , no doubt . We do best , then , not to begin with masterpieces or even with the arts , but with the sensory materials that nature furnishes ...
... perception of such isolated elements that the æsthetic aspect of the world first comes to us , no doubt . We do best , then , not to begin with masterpieces or even with the arts , but with the sensory materials that nature furnishes ...
Pagina 62
... perception of meaning or content , but such readi- ness of response as , for example , follows a modulation in music perfectly accurately without explicitly realizing its structure , except as the very effect that the less instructed ...
... perception of meaning or content , but such readi- ness of response as , for example , follows a modulation in music perfectly accurately without explicitly realizing its structure , except as the very effect that the less instructed ...
Parole e frasi comuni
absolute pitch abstract accent acquaintance actual adequate æsthetic analysis æsthetic content æsthetic objects æsthetic surface æsthetic theory apply apprehended artists asthetic attention basic blank verse 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 El Greco elements emotional exhibited experience expressive fact familiar feeling felt formal function fundamental give grasp hence human human voice iambic pentameter iambs indicated intelligible intrinsic knowledge length loudness means Mediant merely musical scale nature notes obvious octave one-two particular perception phatically 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 strictly string structure Subdominant syllables systematic temporal aspect temporal pattern tern things timbre tion Tonic trochees vibration rate whole words