Esthetic Analysis |
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Pagina 72
The vibration rates are in these ratios , and the pitches correspondingly related to the Dominant and to the Subdominant will be seen to be as follows , where we simply multiply the vibration rate of D and SD respectively by the same ...
The vibration rates are in these ratios , and the pitches correspondingly related to the Dominant and to the Subdominant will be seen to be as follows , where we simply multiply the vibration rate of D and SD respectively by the same ...
Pagina 119
Even for those who are to 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 gestures so sensitively that the exact ...
Even for those who are to 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 gestures so sensitively that the exact ...
Pagina 121
a a per we let our beat follow our own irregularities of sound production , 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 structure ...
a a per we let our beat follow our own irregularities of sound production , 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 structure ...
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abstract accent actual adequate ęsthetic analysis appears apply apprehended artists aspects attention basic basis become body called character characteristic clear clearly color complex concrete conscious constitute counts course criticism defined definitely determinate direct directly discriminating distinct distinguished division Dominant duration effect elements example exhibited experience expressive fact familiar feeling felt field follow formal fully function fundamental give given grasp grouping hence human indicated individual intelligible intensity interest intervals intrinsic involved knowledge least length less limited mark matter means measure merely nature notes object obvious octave once organism particular physical pitch possible present processes qualitative range relations relevant response rhythm scale scheme selected sense sensuous simply single sort sound spatial specific structure suggested surface syllables systematic taken temporal pattern things tion Tonic variations various verse vibration whole