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F. Schmidt defines art as the work on identifyingimages. Therefore, in his idea of formal method, it writesthat section: "the Formal analysis of literary works mustto be based not on abstract aesthetics and analysis, creative thinking,ie, the exact knowledge of the combined functions of the cerebral centres, and taking into accounttheir development and their relative importance" (ibid.P.183). F. Schmidt all the time moves from more simple to more complexmodels. As example, a comparison of spatial andtemporal aspects: "music is not alien to the space: only a singlethe melody is purely in time, unfolding a string of sounds -- likeas only linear pattern is purely in the space of a mappeda number of points; in the chord we have a comparison of the sounds are not in temporarysequence and spatial harmony; in polyphonic music, akkompaniroval tunes we have, like, two spatialplan sounds; finally, the "symphonic" sound mass, at the same time impressivehearing clearly perceived as a spatial and multidimensional, sothe listener distinguish their relative remoteness from oneself" (Ibid.P.57).
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