Esthetic Analysis |
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Pagina 93
CHAPTER IV TEMPORAL PATTERNS : VERSE RHYTHM HE test of any scheme of analysis comes with its application to actual forms of art in actual artistic works . That would be reason enough for spending the effort here to discriminate some of ...
CHAPTER IV TEMPORAL PATTERNS : VERSE RHYTHM HE test of any scheme of analysis comes with its application to actual forms of art in actual artistic works . That would be reason enough for spending the effort here to discriminate some of ...
Pagina 108
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 three or the two the number of main subdivisions ...
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 three or the two the number of main subdivisions ...
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 ...
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 ...
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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 follow formal fully function fundamental give given grasp grouping hence human indicated individual intelligible intensity interest intervals intrinsic involved knowledge least length less 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 suggested surface syllables systematic taken temporal pattern things tion Tonic variations various verse vibration whole