AEsthetic AnalysisThomas, Y. Crowell, 1936 - 211 pagine |
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Pagina 68
... 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 familiar with 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 familiar with the ...
Pagina 69
... Tonic . If we now add the fifth , fourth , and third of the Dom- inant and Subdominant , the pitches at those ... Tonic . If the Tonic is C ( do ) , the Dominant is G ( sol ) , the Subdominant is F ( fa ) , and the Mediant is E ( mi ) ...
... Tonic . If we now add the fifth , fourth , and third of the Dom- inant and Subdominant , the pitches at those ... Tonic . If the Tonic is C ( do ) , the Dominant is G ( sol ) , the Subdominant is F ( fa ) , and the Mediant is E ( mi ) ...
Pagina 71
... Tonic and the octave above it dividing by 2. This is the vibration rate 1⁄2 , the pitch corresponding to which is thus the nearest related pitch to the Tonic itself . It is the Dominant , as above , and we may indicate it from now on as ...
... Tonic and the octave above it dividing by 2. This is the vibration rate 1⁄2 , the pitch corresponding to which is thus the nearest related pitch to the Tonic itself . It is the Dominant , as above , and we may indicate it from now on as ...
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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