AEsthetic Analysis |
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Risultati 1-3 di 68
Pagina 17
The qualitative order of pitch is not the sole constituent of melodic structure , of
course . But that it is one important ... But we may still make widely different tunes
out of the notes by ordering the pitches variously . If , for example , there is a large
...
The qualitative order of pitch is not the sole constituent of melodic structure , of
course . But that it is one important ... But we may still make widely different tunes
out of the notes by ordering the pitches variously . If , for example , there is a large
...
Pagina 46
The series of pitches is not like this . It runs out in both directions instead of
coming back upon itself . The relation higher - in - pitch - than has a further
property , called transitiveness . If B is higher in pitch than Ā , and C is higher in
pitch than B ...
The series of pitches is not like this . It runs out in both directions instead of
coming back upon itself . The relation higher - in - pitch - than has a further
property , called transitiveness . If B is higher in pitch than Ā , and C is higher in
pitch than B ...
Pagina 67
a vibration rate three times that corresponding to the pitch of the fundamental .
Since dividing the length of the string into halves doubles the vibration rate , and
into thirds multiplies the rate by three , instead of speaking of a note with pitch ...
a vibration rate three times that corresponding to the pitch of the fundamental .
Since dividing the length of the string into halves doubles the vibration rate , and
into thirds multiplies the rate by three , instead of speaking of a note with pitch ...
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abstract accent acquaintance actual adequate æsthetic analysis appears apply apprehended artists aspect attention basic basis become body called character characteristic clear clearly color complex concrete conscious constitute course criticism defined definitely determinate direct directly discriminating distinct distinguished Dominant duration effect elements emotional example exhibited experience expressive fact familiar feeling felt field formal function fundamental give given grasp human indicate individual intelligible intensity interest intervals intrinsic kind knowledge language least length less marked matter means measure merely names nature notes object obvious octave once organism particular pattern physical pitch possible present processes qualitative relations require response rhythm scale scheme selected sense sensuous simply single sort sound spatial specific structure suggested surface systematic taken temporal temporal pattern theory things tion Tonic variations verse vibration whole