AEsthetic Analysis |
Dall'interno del libro
Risultati 1-3 di 59
Pagina xxvi
However , to do Prall justice , we should bear in mind that his preoccupation with
the harmonic overtones was simply a means of demonstrating how nature
provided a structural basis for composers to develop the major scale . Prall ' s
way of ...
However , to do Prall justice , we should bear in mind that his preoccupation with
the harmonic overtones was simply a means of demonstrating how nature
provided a structural basis for composers to develop the major scale . Prall ' s
way of ...
Pagina 148
It is the old story of the qualitative aspect of our world , which exhausts its
presented character and content . This qualitative presence simply is the way the
world feels to us through our senses as instrumentalities of conscious
apprehension .
It is the old story of the qualitative aspect of our world , which exhausts its
presented character and content . This qualitative presence simply is the way the
world feels to us through our senses as instrumentalities of conscious
apprehension .
Pagina 149
This qualitative presence simply is the way the world feels to us through our
senses as instrumentalities of conscious apprehension . Pale blue feels milder
than flaming red just as definitely and accurately as it feels pale blue . Qualitative
terms ...
This qualitative presence simply is the way the world feels to us through our
senses as instrumentalities of conscious apprehension . Pale blue feels milder
than flaming red just as definitely and accurately as it feels pale blue . Qualitative
terms ...
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Parole e frasi comuni
abstract accent acquaintance actual adequate æsthetic analysis appears apply apprehended artists aspect attention basic basis become body called character characteristic clear clearly color complex concrete conscious constitute course criticism defined definitely determinate direct directly discriminating distinct distinguished Dominant duration effect elements emotional example exhibited experience expressive fact familiar feeling felt field formal function fundamental give given grasp human indicate individual intelligible intensity interest intervals intrinsic kind knowledge language least length less marked matter means measure merely names nature notes object obvious octave once organism particular pattern physical pitch possible present processes qualitative relations require response rhythm scale scheme selected sense sensuous simply single sort sound spatial specific structure suggested surface systematic taken temporal temporal pattern theory things tion Tonic variations verse vibration whole