Esthetic AnalysisT.Y. Crowell, 1936 - 211 pagine |
Dall'interno del libro
Risultati 1-3 di 33
Pagina 17
... 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 not all pitches have each ...
... 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 not all pitches have each ...
Pagina 18
... example , we can find a variation half way between , or a variation twice as far from one of them as from the other , along one of the serial ranges of color . And so of pitches . Pitches are at definitely apprehended distances in pitch ...
... example , we can find a variation half way between , or a variation twice as far from one of them as from the other , along one of the serial ranges of color . And so of pitches . Pitches are at definitely apprehended distances in pitch ...
Pagina 125
... example of the consistent use of so - called trochaic measure will exhibit the characteristic un - English sound of a strict count of two . Trochees substituted for iambs are not of this sort . From our scheme it is plain enough that ...
... example of the consistent use of so - called trochaic measure will exhibit the characteristic un - English sound of a strict count of two . Trochees substituted for iambs are not of this sort . From our scheme it is plain enough that ...
Parole e frasi comuni
absolute pitch abstract accent acquaintance actual adequate æsthetic analysis æsthetic content æsthetic objects æsthetic surface æsthetic 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