AEsthetic AnalysisThomas, Y. Crowell, 1936 - 211 pagine |
Dall'interno del libro
Risultati 1-3 di 64
Pagina 39
... merely to hear a simple melody , we must grasp pitch relations . per- The grasp of them at the minimum appears to be ception , not conceptual understanding . But the difference between perceiving clearly and understanding distinctly is ...
... merely to hear a simple melody , we must grasp pitch relations . per- The grasp of them at the minimum appears to be ception , not conceptual understanding . But the difference between perceiving clearly and understanding distinctly is ...
Pagina 146
... merely sensuous than have artists and critics in their efforts to uphold the cause of the arts on the ground of their essen- tial spirituality . One might gather from what they say that the reality of art is not sensuous content at all ...
... merely sensuous than have artists and critics in their efforts to uphold the cause of the arts on the ground of their essen- tial spirituality . One might gather from what they say that the reality of art is not sensuous content at all ...
Pagina 191
... merely distortion , instead of feeling them as ascetic and in some of his portraits as aristocratic , or as expressive of saintly ecstatic emaciation or intense religious striving or straining , or as whatever more specific and concrete ...
... merely distortion , instead of feeling them as ascetic and in some of his portraits as aristocratic , or as expressive of saintly ecstatic emaciation or intense religious striving or straining , or as whatever more specific and concrete ...
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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