AEsthetic AnalysisThomas, Y. Crowell, 1936 - 211 pagine |
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Pagina 65
... 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 , those of 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 , those of the ...
Pagina 66
... 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 " and name its pitch by ...
... 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 " and name its pitch by ...
Pagina 69
... fundamental is that produced by vibrations of the quarters of the string , vibrations the rate of which is four times that corresponding to the pitch of the fundamental . But as the pitch corresponding to twice the vibration rate . of ...
... fundamental is that produced by vibrations of the quarters of the string , vibrations the rate of which is four times that corresponding to the pitch of the fundamental . But as the pitch corresponding to twice the vibration rate . of ...
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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