Meaning and Truth in the ArtsArchon Books, 1964 - 252 pagine |
Dall'interno del libro
Risultati 1-3 di 22
Pagina 52
... hear at a performance ) I cannot find any emotion in it . All I can really assert to be in the music is the particular combination of notes and rests which is indicated by the score or played by the performers.2 29 If someone were to ...
... hear at a performance ) I cannot find any emotion in it . All I can really assert to be in the music is the particular combination of notes and rests which is indicated by the score or played by the performers.2 29 If someone were to ...
Pagina 83
... hear music " pure , " without " emotive " meanings or associations from life , and those who hear it as an expression of emotions or some other extra - musical content . And the more experienced a listener 13. Ibid . , pp . 339-43 . We ...
... hear music " pure , " without " emotive " meanings or associations from life , and those who hear it as an expression of emotions or some other extra - musical content . And the more experienced a listener 13. Ibid . , pp . 339-43 . We ...
Pagina 97
... hear- ing the music is never the sadness of personal bereavement , and yet the word is used in describing the music because of some felt correspondence between it and the emotion of daily life . There is a recognizable similarity , yet ...
... hear- ing the music is never the sadness of personal bereavement , and yet the word is used in describing the music because of some felt correspondence between it and the emotion of daily life . There is a recognizable similarity , yet ...
Sommario
PRELIMINARY DISTINCTIONS | 3 |
In Painting | 38 |
PROPOSITIONAL TRUTH | 141 |
Copyright | |
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Parole e frasi comuni
artist assertion baroque music beauty Beethoven Bell certainly Cézanne Chapter character Charles Mauron Clive Bell colors common composition convention critics described discussed distinction drama Eastman effect essence esthetic experience esthetic form esthetic surface evocation evoke example expression fact feeling George Santayana give Gurney Hanslick historical I. A. Richards Ibid imaginative imitate important irrelevant kind knowledge L. A. Reid language life-values listener literary literature Marc Chagall material matter Max Eastman meaning medium merely mind musical experiences natural symbol notion novel objects Odyssey painter painting particular perception person Philosophy plastic poem poet poetic poetry present Professor Greene program music propositions psychological pure question realism reality refer referential relevant represent representational Roger Fry Santayana sense significant form simply sounds speak statements subject-matter Sullivan T. E. Hulme term theme theory things tion true true-to truth usage vision visual words