AEsthetic AnalysisThomas, Y. Crowell, 1936 - 211 pagine |
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Risultati 1-3 di 59
Pagina 65
... called the fundamental , the pitch of the sound . Further- more , rates of vibration vary inversely with the length of the vibrating string . That is to say , the vibrations of the half - lengths are at twice the rate of the whole ...
... called the fundamental , the pitch of the sound . Further- more , rates of vibration vary inversely with the length of the vibrating string . That is to say , the vibrations of the half - lengths are at twice the rate of the whole ...
Pagina 66
... called the sound of the fundamental . It is on account of this fact , viz . , that this so - called partial or overtone is so large a part of the sound heard as the fundamental , that we take it as the " same " note " an octave higher ...
... called the sound of the fundamental . It is on account of this fact , viz . , that this so - called partial or overtone is so large a part of the sound heard as the fundamental , that we take it as the " same " note " an octave higher ...
Pagina 74
... called fifths , fourths and so on , are defined in the partials , which lie at these distances from the fundamental or from one another . In hearing any note sounded , then , we have heard the interval called a fifth , the interval called ...
... called fifths , fourths and so on , are defined in the partials , which lie at these distances from the fundamental or from one another . In hearing any note sounded , then , we have heard the interval called a fifth , the interval called ...
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abstract accent acquaintance actual adequate aesthetic æsthetic content æsthetic experience æsthetic objects æsthetic surface æsthetic theory appre apprehended artists attention basic body called carbonated water character characteristic clear clearly color variations complex concrete conscious constitute crete criticism defined definitely degree determinate direct directly discerned discriminating distinct distinguished Dominant duration El Greco elements emotional exhibited expressive fact familiar felt formal function fundamental give given grasp human iambs indicate individual intelligible intrinsic knowledge Leverett House means measure Mediant merely musical scale notes obvious octave particular Pathétique Sonata perceptual physical pitch intervals pitch relation Polyclitus Prall processes qualitative orders relevant rhythmical scale scheme sculpture sense sensuous serial orders simply sonata form sort sound spatial specific string structure Subdominant syllables systematic temporal aspect temporal pattern tern theory of forms timbre tion Tonic trochees University of Michigan-Flint vague vibration rate whole words