AEsthetic AnalysisThomas, Y. Crowell, 1936 - 211 pagine |
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Pagina 40
... indicated ways , that our scheme of them may represent the dis- cerned order of their actual nature and therefore be directed upon their actual ways of entering into structures as con- stituents . This is assuming two points about ...
... indicated ways , that our scheme of them may represent the dis- cerned order of their actual nature and therefore be directed upon their actual ways of entering into structures as con- stituents . This is assuming two points about ...
Pagina 107
... indicated divisions of time are relative ( a half - note half the time of a whole - note , a quarter - note half of a half - note , and so on ) , a quick measure is often indicated by writing a time signature as so many sixteenth ...
... indicated divisions of time are relative ( a half - note half the time of a whole - note , a quarter - note half of a half - note , and so on ) , a quick measure is often indicated by writing a time signature as so many sixteenth ...
Pagina 108
... indicate clearly anything about the general nature of temporal pat- tern in music , except that there must be fixed ... indicated and some subdivision of it , not merely by the notation but to the ear . a But we have already seen that ...
... indicate clearly anything about the general nature of temporal pat- tern in music , except that there must be fixed ... indicated and some subdivision of it , not merely by the notation but to the ear . a But we have already seen that ...
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absolute pitch abstract accent acquaintance actual adequate æsthetic analysis æsthetic content æsthetic objects æsthetic theory apply apprehended artists asthetic attention basic Berkeley Berkeley blank verse CALIFORNIA LIBRARY called character characteristic clear clearly color variations complex concrete conscious constitute cretely criticism defined definitely degree determinate dimension directly discerned discriminating distinct distinguished Dominant duration elements English poetry exhibited experience expressive fact familiar feeling felt formal function fundamental give grasp hence human human voice iambic pentameter iambs indicated intelligible intrinsic knowledge length means Mediant merely musical scale nature notes obvious octave particular perception physical pitch intervals pitch pattern pitch relations Polyclitus present processes qualitative orders relevant rhythmical scale scheme selected sense sensory sensuous serial orders simply sort sound spatial specific string structure Subdominant syllables systematic temporal aspect temporal pattern tern things timbre tion Tonic trochees UNIVERSITY OF CALIFORNIA vibration rate whole words