A Modern Book of Esthetics: An AnthologyMelvin Miller Rader Holt, 1952 - 602 pagine |
Dall'interno del libro
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Pagina 246
... pitch , and every distinct pitch is either above or below any other pitch that we may choose . Thus all sounds are related in a single order , every sound to every other sound . We might simply say that sounds are pitch- related . But ...
... pitch , and every distinct pitch is either above or below any other pitch that we may choose . Thus all sounds are related in a single order , every sound to every other sound . We might simply say that sounds are pitch- related . But ...
Pagina 247
... pitch than B , then C is higher in pitch than A. It is clear then that every sound ( and we distinguish sounds from noises by just this criterion that they have clearly perceptible pitch ) lies in this single linear series of pitches ...
... pitch than B , then C is higher in pitch than A. It is clear then that every sound ( and we distinguish sounds from noises by just this criterion that they have clearly perceptible pitch ) lies in this single linear series of pitches ...
Pagina 248
... pitch , our control , far from being thus negligible , is both accurate and of the wide range defined by many instru- ments . And what in smell or taste corresponds to pitch in sound ? That aspect of an odor or a taste , no doubt , that ...
... pitch , our control , far from being thus negligible , is both accurate and of the wide range defined by many instru- ments . And what in smell or taste corresponds to pitch in sound ? That aspect of an odor or a taste , no doubt , that ...
Sommario
Intuition | 89 |
Desire and the Unconscious | 127 |
Art and the Unconscious From | 143 |
Copyright | |
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abstract activity ANDREW CECIL BRADLEY appears appreciation artist aspect attitude balance beauty become Beethoven BENEDETTO CROCE called character CLIVE BELL color concrete consciousness contemplation contextualist criticism daydreams Distance distinction distinguished dream effect elements empathy esthetic emotion esthetic experience existence expression external reality fact feeling Freud genotype give Gurney Hanslick human I. A. RICHARDS ideas images imagination imitation impulse individual instinctive interest intrinsic intuition isolated JOHN HOSPERS judgments kind language latent content live manifest content material means Melvin Rader ment merely mind moral nature object objectified organic ourselves painter painting perception phantasies philosophy physical picture pitch play pleasure poem poet poetic poetry practical present principle produce psychological pure relation rhythm rience scientific sensation sense sensuous social soul sound spatial super-ego THEODORE MEYER theory things thought tion truth type patterns unity variation Vernon Lee whole WILHELM WORRINGER words