Ęsthetic AnalysisCrowell, 1967 - 211 pagine |
Dall'interno del libro
Risultati 1-3 di 29
Pagina 17
... characteristic . And if sounds could not be relied on to have pitches , lying all of them at fixed points in the long line of pitch itself , there would be no way of following one sound by another in time and still having a distinct ...
... characteristic . And if sounds could not be relied on to have pitches , lying all of them at fixed points in the long line of pitch itself , there would be no way of following one sound by another in time and still having a distinct ...
Pagina 51
... characteristic , variations in hue are no more sig- nificant for color composition , no more characteristic of color design , than variations of saturation or of brightness . The order of the hues is cyclical , too , while the orders of ...
... characteristic , variations in hue are no more sig- nificant for color composition , no more characteristic of color design , than variations of saturation or of brightness . The order of the hues is cyclical , too , while the orders of ...
Pagina 52
... characteristic without reference explicitly to any scheme . But the ordinary scheme definitely includes it , and its name , instead of removing it from the scheme , fairly in- dicates its place there , provided we attend to its ...
... characteristic without reference explicitly to any scheme . But the ordinary scheme definitely includes it , and its name , instead of removing it from the scheme , fairly in- dicates its place there , provided we attend to its ...
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absolute pitch abstract accent acquaintance actual adequate aesthetic ęsthetic analysis ęsthetic content ęsthetic objects ęsthetic surface ęsthetic theory apply apprehended artists attention basic blank verse called character characteristic clear clearly color variations complex concrete conscious constitute crete criticism defined definitely degree determinate dimension direct directly discerned discriminating distinct distinguished Dominant duration elements English poetry exhibited experience expression fact familiar feeling felt formal function fundamental give given grasp hence human iambs indicated intelligible intrinsic knowledge Leverett House means Mediant merely musical scale nature notes obvious octave particular Pathétique Sonata perception physical pitch intervals pitch pattern pitch relations Polyclitus Prall present processes qualitative orders relevant rhythm rhythmical scale scheme sense sensory sensuous serial orders simply sonata form sort sound spatial specific string structure Subdominant syllables systematic temporal aspect temporal pattern tern things timbre tion Tonic trochees vibration rate whole words