AEsthetic AnalysisThomas, Y. Crowell, 1936 - 211 pagine |
Dall'interno del libro
Risultati 1-3 di 16
Pagina 66
... octave higher " and name its pitch the same name , the C an octave above an original C , or A and the A an octave higher . If these are taken as notes in our scale , the fundamental as the key - note , then the fundamental is called the ...
... octave higher " and name its pitch the same name , the C an octave above an original C , or A and the A an octave higher . If these are taken as notes in our scale , the fundamental as the key - note , then the fundamental is called the ...
Pagina 68
... octave itself . The Dominant is the pitch corresponding to vibrations of a string as divided into thirds , or , if ... octave higher , so the pitch at four times the vibration rate for the funda- mental is an octave above that octave ...
... octave itself . The Dominant is the pitch corresponding to vibrations of a string as divided into thirds , or , if ... octave higher , so the pitch at four times the vibration rate for the funda- mental is an octave above that octave ...
Pagina 71
... octave . The rates corresponding to pitches between the fundamental and its octave will run from x to 2x , or , omitting the x instead of repeating it after every number , from 1 to 2. ( The actually current rate for " middle C " is ...
... octave . The rates corresponding to pitches between the fundamental and its octave will run from x to 2x , or , omitting the x instead of repeating it after every number , from 1 to 2. ( The actually current rate for " middle C " is ...
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Parole e frasi comuni
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