AEsthetic AnalysisThomas, Y. Crowell, 1936 - 211 pagine |
Dall'interno del libro
Risultati 1-3 di 68
Pagina 17
... 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 the other in pitch and that the tune begins with a skip . But this would be impossible did ...
... 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 the other in pitch and that the tune begins with a skip . But this would be impossible did ...
Pagina 46
... pitch than A , and C is higher in pitch than B , then C is higher in pitch than A. It is clear then that every sound ( and we dis- tinguish sounds from noises by just this criterion that they have clearly perceptible pitch ) lies in ...
... pitch than A , and C is higher in pitch than B , then C is higher in pitch than A. It is clear then that every sound ( and we dis- tinguish sounds from noises by just this criterion that they have clearly perceptible pitch ) lies in ...
Pagina 71
... pitch of the Tonic . The halves of the string will vibrate at the rate 2x . This rate produces a sound at the pitch called the octave . The rates corresponding to pitches between the fundamental and its octave will run from x to 2x , or ...
... pitch of the Tonic . The halves of the string will vibrate at the rate 2x . This rate produces a sound at the pitch called the octave . The rates corresponding to pitches between the fundamental and its octave will run from x to 2x , or ...
Altre edizioni - Visualizza tutto
Parole e frasi comuni
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