AEsthetic AnalysisThomas, Y. Crowell, 1936 - 211 pagine |
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Risultati 1-3 di 23
Pagina 49
... dimension of loudness- softness that makes them possible as integral elements in genuine musical composition . And here again there is not mere variation or mere contrast or similarity , but distin- guishable degrees of similarity and ...
... dimension of loudness- softness that makes them possible as integral elements in genuine musical composition . And here again there is not mere variation or mere contrast or similarity , but distin- guishable degrees of similarity and ...
Pagina 80
... dimensions . But while the facts of harmony and contrast , and hence of all color design as such , depend absolutely ... dimension . Even the hues num- ber three or four or seven or twelve or twenty - four , de- pending on what scheme we ...
... dimensions . But while the facts of harmony and contrast , and hence of all color design as such , depend absolutely ... dimension . Even the hues num- ber three or four or seven or twelve or twenty - four , de- pending on what scheme we ...
Pagina 138
... dimensional manifold of pitch ; and the two combine to define a distance measured along this dimension as a great or a small pitch interval . The serial ranges relating sensory variations are then the essential basis , the actual ...
... dimensional manifold of pitch ; and the two combine to define a distance measured along this dimension as a great or a small pitch interval . The serial ranges relating sensory variations are then the essential basis , the actual ...
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abstract accent acquaintance actual adequate aesthetic æsthetic content æsthetic experience æsthetic objects æsthetic surface æsthetic theory appre apprehended artists attention basic body called carbonated water character characteristic clear clearly color variations complex concrete conscious constitute crete criticism defined definitely degree determinate direct directly discerned discriminating distinct distinguished Dominant duration El Greco elements emotional exhibited expressive fact familiar felt formal function fundamental give given grasp human iambs indicate individual intelligible intrinsic knowledge Leverett House means measure Mediant merely musical scale notes obvious octave particular Pathétique Sonata perceptual physical pitch intervals pitch relation Polyclitus Prall processes qualitative orders relevant rhythmical scale scheme sculpture sense sensuous serial orders simply sonata form sort sound spatial specific string structure Subdominant syllables systematic temporal aspect temporal pattern tern theory of forms timbre tion Tonic trochees University of Michigan-Flint vague vibration rate whole words