Esthetic AnalysisT.Y. Crowell, 1936 - 211 pagine |
Dall'interno del libro
Risultati 1-3 di 8
Pagina 17
... timbre . But we may still make widely different tunes out of the notes by order- ing the pitches variously . If , for example , there is a large pitch difference between the first and second notes , we say that one of them is far from ...
... timbre . But we may still make widely different tunes out of the notes by order- ing the pitches variously . If , for example , there is a large pitch difference between the first and second notes , we say that one of them is far from ...
Pagina 39
... timbres of in- struments or differences in loudness and softness . But what musical notation indicates , so far as it indicates pitch , is an abstract aspect of sound . Pitch without a degree of loudness , without a given timbre ...
... timbres of in- struments or differences in loudness and softness . But what musical notation indicates , so far as it indicates pitch , is an abstract aspect of sound . Pitch without a degree of loudness , without a given timbre ...
Pagina 76
... timbre of the fundamental ( which is the effect of all the partials in it combined in a distinctive quality ) ; the loudness necessary to our hearing either the fundamental or its partials , and to discriminating the intervals so ...
... timbre of the fundamental ( which is the effect of all the partials in it combined in a distinctive quality ) ; the loudness necessary to our hearing either the fundamental or its partials , and to discriminating the intervals so ...
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