Rhythm and Harmony in Poetry and Music: Together with Music as a Representative Art; Two Essays in Comparative ÆstheticsG. P. Putnam's sons, 1894 - 344 páginas |
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Página xv
... termed ; or , if he have been educated in another school , often merely if he choose , he can suggest the form with the vague outlines of the roman- tic impressionist ; and the same architect also can plan a classic Girard college , or ...
... termed ; or , if he have been educated in another school , often merely if he choose , he can suggest the form with the vague outlines of the roman- tic impressionist ; and the same architect also can plan a classic Girard college , or ...
Página 14
... termed alternate active and passive movements . The former of these movements is that which in every second , third , fourth , or fifth syllable , produces the accent . In our language all words of more than one syllable have come to ...
... termed alternate active and passive movements . The former of these movements is that which in every second , third , fourth , or fifth syllable , produces the accent . In our language all words of more than one syllable have come to ...
Página 17
... termed principality , and the others must be given sub- ordination . It seems evident that , starting with speech as it is , and trying to make it rhythmical , the first tendency will not be to make the numbers of syllables composing ...
... termed principality , and the others must be given sub- ordination . It seems evident that , starting with speech as it is , and trying to make it rhythmical , the first tendency will not be to make the numbers of syllables composing ...
Página 18
... termed comprehensiveness of form . For the same reason that , when we begin to construct rhythm out of ordinary speech , we do not make the numbers of syllables in the groups the basis of rhythm , we do not make the quantity of ...
... termed comprehensiveness of form . For the same reason that , when we begin to construct rhythm out of ordinary speech , we do not make the numbers of syllables in the groups the basis of rhythm , we do not make the quantity of ...
Página 19
... termed in the chart central point ; also that the unaccented syllables , many or few , following the accented appear to be only a setting accompanying them ; and , in addition to this , that the accented and unaccented syllables of each ...
... termed in the chart central point ; also that the unaccented syllables , many or few , following the accented appear to be only a setting accompanying them ; and , in addition to this , that the accented and unaccented syllables of each ...
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Términos y frases comunes
according Æneid æsthetic alliteration arranged Art in Theory ART-METHODS artistic assonance bass blank verse cadence cæsura cause Chapter chord color composed congruity connection consonants developed downward duration elocutionary expression fact Faerie Queene fifth Genesis of Art-Form Götterdämmerung gradation Greek harmony hexameter human voice iambic Idem imitation indicated inharmonic instance instruments length lines major major scale melody ments methods metre mind minor mood Motive movement musical scale nature notes Notice number of syllables octave Paradise Lost partial effects partial tones phrases pitch poetic poetry Poetry and Music poets principle produced quotation ratios reason recognized repetition representation Representative Art result rhyme rhythm scale sense Shakespeare singing song sounds speech stanzas strings suggested tendency termed terminal tetrameter thee thought tion tonic trimeter triple measures Trochaic unaccented syllables unity upward uttered verse vibrations voice vowels W. S. Gilbert Wagner's words