AEsthetic AnalysisThomas, Y. Crowell, 1936 - 211 pagine |
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Pagina 48
... pitch order is to the nature of sounds , so in composition with them we have no adequate control of structural forms or distinctly perceptible intelligible patterns . It is plainly enough the felt pitch relations , depending upon the ...
... pitch order is to the nature of sounds , so in composition with them we have no adequate control of structural forms or distinctly perceptible intelligible patterns . It is plainly enough the felt pitch relations , depending upon the ...
Pagina 71
... 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 D , the Tonic by T , and the octave of the Tonic , or the Tonic an octave above ...
... 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 D , the Tonic by T , and the octave of the Tonic , or the Tonic an octave above ...
Pagina 74
... pitch relations defined to the ear within any single sound which has clearly distinguishable pitch . Notes at these intervals have these determinate pitch relations to one another , and the intervals are thus dictated by the heard ...
... pitch relations defined to the ear within any single sound which has clearly distinguishable pitch . Notes at these intervals have these determinate pitch relations to one another , and the intervals are thus dictated by the heard ...
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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