Esthetic AnalysisT.Y. Crowell, 1936 - 211 pagine |
Dall'interno del libro
Risultati 1-3 di 30
Pagina 121
... tion per second is in general not a difference in pitch for ears , and so not a difference in ęsthetic 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 ęsthetic 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 193
... tion . Or rather , it is with respect to sculpture that we have suffered most , and lost most , by our disingenuous or con- fused or naļve attempts to find in it something much more obvious and less significant , something much more ...
... tion . Or rather , it is with respect to sculpture that we have suffered most , and lost most , by our disingenuous or con- fused or naļve attempts to find in it something much more obvious and less significant , something much more ...
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 ...
Parole e frasi comuni
absolute pitch abstract accent acquaintance actual adequate ęsthetic analysis ęsthetic content ęsthetic objects ęsthetic surface ęsthetic 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