Esthetic AnalysisT.Y. Crowell, 1936 - 211 pagine |
Dall'interno del libro
Risultati 1-3 di 51
Pagina 65
... called the fundamental , the pitch of the sound . Further- more , rates of vibration vary inversely with the length of the vibrating string . That is to say , the vibrations of the half - lengths are at twice the rate of the whole ...
... called the fundamental , the pitch of the sound . Further- more , rates of vibration vary inversely with the length of the vibrating string . That is to say , the vibrations of the half - lengths are at twice the rate of the whole ...
Pagina 66
... called the sound of the fundamental . 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 ...
... called the sound of the fundamental . 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 ...
Pagina 74
... called fifths , fourths and so on , are defined in the partials , which lie at these distances . from the fundamental or from one another . In hearing any note sounded , then , we have heard the interval called a fifth , the interval called ...
... called fifths , fourths and so on , are defined in the partials , which lie at these distances . from the fundamental or from one another . In hearing any note sounded , then , we have heard the interval called a fifth , the interval called ...
Parole e frasi comuni
absolute pitch abstract accent acquaintance actual adequate ęsthetic analysis ęsthetic content ęsthetic objects ęsthetic surface ęsthetic theory apply apprehended artists asthetic attention basic blank verse 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 El Greco elements emotional exhibited experience expressive fact familiar feeling felt formal function fundamental give grasp hence human human voice iambic pentameter iambs indicated intelligible intrinsic knowledge length loudness means Mediant merely musical scale nature notes obvious octave one-two particular perception phatically 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 strictly string structure Subdominant syllables systematic temporal aspect temporal pattern tern things timbre tion Tonic trochees vibration rate whole words