AEsthetic AnalysisThomas, Y. Crowell, 1936 - 211 pagine |
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Risultati 1-3 di 34
Pagina 66
... fundamental . It is on account of this fact , viz . , that this so - called partial or overtone is so large a part of the sound heard as the fundamental , that we take it as the " same " note " an octave higher " and name its pitch the ...
... fundamental . It is on account of this fact , viz . , that this so - called partial or overtone is so large a part of the sound heard as the fundamental , that we take it as the " same " note " an octave higher " and name its pitch the ...
Pagina 67
... fundamental . Since dividing the length of the string into halves doubles the vibration rate , and into thirds multiplies the rate by three , instead of speaking of a note with pitch corresponding to the vibration rate of half the ...
... fundamental . Since dividing the length of the string into halves doubles the vibration rate , and into thirds multiplies the rate by three , instead of speaking of a note with pitch corresponding to the vibration rate of half the ...
Pagina 68
... fundamental is that produced by vibrations of the quarters of the string , vibrations the rate of which is four times that corresponding to the pitch of the fundamental . But as the pitch corresponding to twice the vibration rate of the ...
... fundamental is that produced by vibrations of the quarters of the string , vibrations the rate of which is four times that corresponding to the pitch of the fundamental . But as the pitch corresponding to twice the vibration rate of the ...
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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