AEsthetic Analysis |
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Pagina 66
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 by the same name , the C an octave ...
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 by the same name , the C an octave ...
Pagina 68
The Dominant is the most strongly audible of the partials given in sounding any
note , except just the octave itself . The Dominant is the pitch corresponding to
vibrations of a string as divided into thirds , or , if we choose to put it so , it is the
pitch ...
The Dominant is the most strongly audible of the partials given in sounding any
note , except just the octave itself . The Dominant is the pitch corresponding to
vibrations of a string as divided into thirds , or , if we choose to put it so , it is the
pitch ...
Pagina 71
This rate produces a sound at the pitch called the 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 ...
This rate produces a sound at the pitch called the 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 ...
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abstract accent actual adequate ęsthetic analysis appears apply apprehended artists aspects attention basic basis become body called character characteristic clear clearly color complex concrete conscious constitute counts course criticism defined definitely determinate direct directly discriminating distinct distinguished division Dominant duration effect elements example exhibited experience expressive fact familiar feeling felt field formal function fundamental give given grasp grouping hence human indicated individual intelligible intensity interest intervals intrinsic involved knowledge least length less LIBRARY limited mark matter means measure merely nature notes object obvious octave once organism particular physical pitch possible present processes qualitative range relations relevant response rhythm scale scheme selected sense sensuous simply single sort sound spatial specific structure surface systematic taken temporal pattern things tion Tonic UNIVERSITY OF CALIFORNIA variations various verse vibration whole