Æsthetic AnalysisCrowell, 1967 - 211 pagine |
Dall'interno del libro
Risultati 1-3 di 86
Pagina 16
... clear from this one sketchy example , where even our terms , such as full red , are used without clear definition , that colors do lie in ordered ranges , where we can speak of their qualitative dis- tances from one another . Out of ...
... clear from this one sketchy example , where even our terms , such as full red , are used without clear definition , that colors do lie in ordered ranges , where we can speak of their qualitative dis- tances from one another . Out of ...
Pagina 52
... clear , though ob- viously not at all adequate . As colors are spread over sur- faces , so notes are extended through time , and rhythm may enter into melody as distinctly as pitch itself , though a definite rhythmic beat may be ...
... clear , though ob- viously not at all adequate . As colors are spread over sur- faces , so notes are extended through time , and rhythm may enter into melody as distinctly as pitch itself , though a definite rhythmic beat may be ...
Pagina 101
... clearly . A slow dance is in just as well defined a measure as a quick one , and in just as clear a pattern . Only the limits of fineness in our nervous mus- cular adjustments ' prevent much greater speed , and only the limits of our ...
... clearly . A slow dance is in just as well defined a measure as a quick one , and in just as clear a pattern . Only the limits of fineness in our nervous mus- cular adjustments ' prevent much greater speed , and only the limits of our ...
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Parole e frasi comuni
absolute pitch abstract accent acquaintance actual adequate æsthetic analysis æsthetic content æsthetic objects æsthetic surface æsthetic theory apply apprehended artists asthetic 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