AEsthetic AnalysisThomas, Y. Crowell, 1936 - 211 pagine |
Dall'interno del libro
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Pagina 67
... Dominant , is thus most closely related to the fundamental or Tonic in the sense that a considerable fraction of the sound heard as the Tonic itself is at this pitch of the Dominant . And this pitch is at a clearly heard pitch ...
... Dominant , is thus most closely related to the fundamental or Tonic in the sense that a considerable fraction of the sound heard as the Tonic itself is at this pitch of the Dominant . And this pitch is at a clearly heard pitch ...
Pagina 68
... Dominant to the Tonic is exactly the pitch relation of the Tonic to the Subdominant . In terms of di- rection and pitch distance the Subdominant is as far from the Tonic in one direction as the Dominant is in the other . For those ...
... Dominant to the Tonic is exactly the pitch relation of the Tonic to the Subdominant . In terms of di- rection and pitch distance the Subdominant is as far from the Tonic in one direction as the Dominant is in the other . For those ...
Pagina 69
... Dominant , its Subdominant , and its Mediant , and defining the intervals named fifth , fourth , and third . We have also made out the sense in which the pitches of these notes are ... Dominant , and Dominant of NATURAL BASIC STRUCTURES 69.
... Dominant , its Subdominant , and its Mediant , and defining the intervals named fifth , fourth , and third . We have also made out the sense in which the pitches of these notes are ... Dominant , and Dominant of NATURAL BASIC STRUCTURES 69.
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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