AEsthetic Analysis |
Dall'interno del libro
Risultati 1-3 di 30
Pagina xvii
Whether we describe or analyze our listening experience , he said , “ as the
formal relations of a composition , or in terms of our feeling , we are talking about
the same thing . The form is felt and the feeling is formal , and that is the he and
the ...
Whether we describe or analyze our listening experience , he said , “ as the
formal relations of a composition , or in terms of our feeling , we are talking about
the same thing . The form is felt and the feeling is formal , and that is the he and
the ...
Pagina 54
Space and time have become purely formal as we have realized their
abstractness in systematic analysis . There are no real but only nominal elements
of space and time . But it takes very little meditation on the nature of pitch and hue
to see ...
Space and time have become purely formal as we have realized their
abstractness in systematic analysis . There are no real but only nominal elements
of space and time . But it takes very little meditation on the nature of pitch and hue
to see ...
Pagina 165
And while much of this character depends on formal sensuous elements as such
, the very nature of these forms , so often derived from nature and human
experience , brings into art the nonformal significance attached to the same forms
in ...
And while much of this character depends on formal sensuous elements as such
, the very nature of these forms , so often derived from nature and human
experience , brings into art the nonformal significance attached to the same forms
in ...
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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