AEsthetic AnalysisThomas, Y. Crowell, 1936 - 211 pagine |
Dall'interno del libro
Risultati 1-3 di 88
Pagina 17
... sound simply because no musical sound lies outside this order , and because anything that lies in this order is a musical sound . Nothing that has pitch can fail to be a sound , and no sound fails to have a pitch . Colors and areas ...
... sound simply because no musical sound lies outside this order , and because anything that lies in this order is a musical sound . Nothing that has pitch can fail to be a sound , and no sound fails to have a pitch . Colors and areas ...
Pagina 46
... sound ( and we dis- tinguish sounds from noises by just this criterion that they have clearly perceptible pitch ) ... sound can be removed from this given pitch order . Nor can anything enter this order except sounds . By virtue of being ...
... sound ( and we dis- tinguish sounds from noises by just this criterion that they have clearly perceptible pitch ) ... sound can be removed from this given pitch order . Nor can anything enter this order except sounds . By virtue of being ...
Pagina 64
... sound is emitted . When vibration rates are rapid enough and not too rapid a sound is produced with definite pitch . It is these familiar natural facts about the determin- ately timed vibration rates of physical things , and their ...
... sound is emitted . When vibration rates are rapid enough and not too rapid a sound is produced with definite pitch . It is these familiar natural facts about the determin- ately timed vibration rates of physical things , and their ...
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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