AEsthetic Analysis |
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Pagina 79
The fundamental pitch continuum is one necessary condition of this basic scale
structure ; the nature of the production of a musical sound , with its partials , is
another . And it is this natural selection out of an ordered continuum that offers
those ...
The fundamental pitch continuum is one necessary condition of this basic scale
structure ; the nature of the production of a musical sound , with its partials , is
another . And it is this natural selection out of an ordered continuum that offers
those ...
Pagina 83
With this once emphatically stated , then , and examples given first of the
intrinsically qualitative orders , and then of one selected qualitative pattern , viz . ,
the musical scale , it is safe enough to go on to basic patterns in the more
regularly ...
With this once emphatically stated , then , and examples given first of the
intrinsically qualitative orders , and then of one selected qualitative pattern , viz . ,
the musical scale , it is safe enough to go on to basic patterns in the more
regularly ...
Pagina 94
But the Birkhoff analysis of polygons and the examples of basic spatial patterns
suggested in the preceding chapter sufficiently illustrate the fundamental nature
and importance of the spatial patterns that function so widely in the arts . The one
...
But the Birkhoff analysis of polygons and the examples of basic spatial patterns
suggested in the preceding chapter sufficiently illustrate the fundamental nature
and importance of the spatial patterns that function so widely in the arts . The one
...
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abstract accent actual adequate ęsthetic analysis appears apply apprehended artists aspect attention basic basis become body called character characteristic clear clearly color complex concrete constitute course criticism defined definitely determinate direct directly discriminating distinct distinguished Dominant duration effect elements example exhibited experience expression fact familiar feeling felt field follow formal fully function fundamental give given grasp grouping hear hence human indicated individual intelligible intensity interest intervals intrinsic knowledge language least length less limited mark matter means measure merely nature notes object obvious octave once organism particular physical pitch possible present processes qualitative range relations relevant response rhythm scale scheme selected sense sensuous significant simply single sort sound spatial specific structure suggested surface systematic taken temporal pattern theory things tion Tonic variations verse vibration whole