Ęsthetic AnalysisCrowell, 1967 - 211 pagine |
Dall'interno del libro
Risultati 1-3 di 67
Pagina 39
... merely to hear a simple melody , we must grasp pitch relations . per- The grasp of them at the minimum appears to be ception , not conceptual understanding . But the difference between perceiving clearly and understanding distinctly is ...
... merely to hear a simple melody , we must grasp pitch relations . per- The grasp of them at the minimum appears to be ception , not conceptual understanding . But the difference between perceiving clearly and understanding distinctly is ...
Pagina 92
... merely theoretical or technical knowledge is studying it as if its function were that of language in science , where language presents to us through a medium , as nearly transparent as possible , what we are actually interested in and ...
... merely theoretical or technical knowledge is studying it as if its function were that of language in science , where language presents to us through a medium , as nearly transparent as possible , what we are actually interested in and ...
Pagina 146
... merely sensuous than have artists and critics in their efforts to uphold the cause of the arts on the ground of their essen- tial spirituality . One might gather from what they say that the reality of art is not sensuous content at all ...
... merely sensuous than have artists and critics in their efforts to uphold the cause of the arts on the ground of their essen- tial spirituality . One might gather from what they say that the reality of art is not sensuous content at all ...
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absolute pitch abstract accent acquaintance actual adequate ęsthetic analysis ęsthetic content ęsthetic objects ęsthetic surface ęsthetic 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