AEsthetic Analysis |
Dall'interno del libro
Risultati 1-3 di 61
Pagina xvi
notes or the feeling or whatever you please ; if it is granted that in the concrete
sonata this conventional form becomes a superficial aspect of the total form and
becomes intimately identified with the latter ; if it is granted , further , that the ...
notes or the feeling or whatever you please ; if it is granted that in the concrete
sonata this conventional form becomes a superficial aspect of the total form and
becomes intimately identified with the latter ; if it is granted , further , that the ...
Pagina xvii
vague the statement about the feeling was , the word “ brooding " is no longer
apposite . In changing the form , I have changed the feeling . There is , of course ,
something highly fatuous , useless , and inordinately unmethodical about these ...
vague the statement about the feeling was , the word “ brooding " is no longer
apposite . In changing the form , I have changed the feeling . There is , of course ,
something highly fatuous , useless , and inordinately unmethodical about these ...
Pagina 155
Significant ęsthetic objects , such as artists are concerned to make and other
human beings to appreciate , are on the one hand single qualitative feelings
given in apprehension . On the other hand , they are intricate and coherent
complexes ...
Significant ęsthetic objects , such as artists are concerned to make and other
human beings to appreciate , are on the one hand single qualitative feelings
given in apprehension . On the other hand , they are intricate and coherent
complexes ...
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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