Esthetic AnalysisT.Y. Crowell, 1936 - 211 pagine |
Dall'interno del libro
Risultati 1-3 di 12
Pagina 19
... hear the pitch pattern at all , that is to say , if we hear the melody . Distinguishing this interval or pitch relation , or pitch dis- tance , along with other relations of the same sort , is hear- ing the melody itself . The objection ...
... hear the pitch pattern at all , that is to say , if we hear the melody . Distinguishing this interval or pitch relation , or pitch dis- tance , along with other relations of the same sort , is hear- ing the melody itself . The objection ...
Pagina 65
... hear when we hear it , and that all the constituent sounds , which are called partials , are either at the pitch of the fundamental or at higher pitches . The most prominent of them , that is simply the loudest of them , the one making ...
... hear when we hear it , and that all the constituent sounds , which are called partials , are either at the pitch of the fundamental or at higher pitches . The most prominent of them , that is simply the loudest of them , the one making ...
Pagina 135
... hear a note at a particular pitch is to hear a note in its relation to any and every other note , as higher or lower than this other note by a determinate pitch- distance . To see a color is to apprehend a point in the range of hues ...
... hear a note at a particular pitch is to hear a note in its relation to any and every other note , as higher or lower than this other note by a determinate pitch- distance . To see a color is to apprehend a point in the range of hues ...
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