AEsthetic AnalysisThomas, Y. Crowell, 1936 - 211 pagine |
Dall'interno del libro
Risultati 1-3 di 62
Pagina 17
... pitches variously . If , for example , there is a large pitch difference between the first and second notes , we say that one of them is far from the other in pitch and that the tune begins with a skip . But this would be impossible did ...
... pitches variously . If , for example , there is a large pitch difference between the first and second notes , we say that one of them is far from the other in pitch and that the tune begins with a skip . But this would be impossible did ...
Pagina 46
... pitch than A , and C is higher in pitch than B , then C is higher in pitch than A. It is clear then that every sound ( and we dis- tinguish sounds from noises by just this criterion that they have clearly perceptible pitch ) lies in ...
... pitch than A , and C is higher in pitch than B , then C is higher in pitch than A. It is clear then that every sound ( and we dis- tinguish sounds from noises by just this criterion that they have clearly perceptible pitch ) lies in ...
Pagina 71
... pitch of the Tonic . The halves of the string will vibrate at the rate 2x . 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 ...
... pitch of the Tonic . The halves of the string will vibrate at the rate 2x . 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 ...
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absolute pitch abstract accent acquaintance actual adequate ęsthetic analysis ęsthetic content ęsthetic objects ęsthetic 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