AEsthetic AnalysisThomas, Y. Crowell, 1936 - 211 pagine |
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Pagina 39
... timbres of in- struments or differences in loudness and softness . But what musical notation indicates , so far as it indicates pitch , is an abstract aspect of sound . Pitch without a degree of loudness , without a given timbre ...
... timbres of in- struments or differences in loudness and softness . But what musical notation indicates , so far as it indicates pitch , is an abstract aspect of sound . Pitch without a degree of loudness , without a given timbre ...
Pagina 76
... timbre of the fundamental ( which is the effect of all the partials in it combined in a distinctive quality ) ; the loudness necessary to our hearing either the fundamental or its partials , and to discriminating the intervals so ...
... timbre of the fundamental ( which is the effect of all the partials in it combined in a distinctive quality ) ; the loudness necessary to our hearing either the fundamental or its partials , and to discriminating the intervals so ...
Pagina 110
... timbre . But this temporal aspect is to be discriminated in all experi- ence , whereas in pitch we have what is to be discriminated only in sound . At this point the objection that we are to meet in the present chapter becomes most ...
... timbre . But this temporal aspect is to be discriminated in all experi- ence , whereas in pitch we have what is to be discriminated only in sound . At this point the objection that we are to meet in the present chapter becomes most ...
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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