Esthetic AnalysisT.Y. Crowell, 1936 - 211 pagine |
Dall'interno del libro
Risultati 1-3 di 18
Pagina 72
... follows , where we simply multiply the vibration rate of D and SD respectively by the same fractions we have employed on T. The re- sults be tabulated as follows : The first table multiplies the vibration rate of the fundamental or ...
... follows , where we simply multiply the vibration rate of D and SD respectively by the same fractions we have employed on T. The re- sults be tabulated as follows : The first table multiplies the vibration rate of the fundamental or ...
Pagina 119
... follow it , it is not a matter merely of seeing gestures , but of grasping a temporal scheme first and then feeling the increase and decrease of intensity in gestures so sensitively that the exact point of division is discriminated ...
... follow it , it is not a matter merely of seeing gestures , but of grasping a temporal scheme first and then feeling the increase and decrease of intensity in gestures so sensitively that the exact point of division is discriminated ...
Pagina 121
David Wight Prall. we let our beat follow our own irregularities of sound pro- duction , or we let it follow not the temporal pattern of music heard but its more prominent aspects in pitch and loudness , thus missing its basic temporal ...
David Wight Prall. we let our beat follow our own irregularities of sound pro- duction , or we let it follow not the temporal pattern of music heard but its more prominent aspects in pitch and loudness , thus missing its basic temporal ...
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