AEsthetic AnalysisThomas, Y. Crowell, 1936 - 211 pagine |
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Risultati 1-3 di 42
Pagina 48
... pitch order is to the nature of sounds , so in composition with them we have no adequate control of structural forms or distinctly perceptible intelligible patterns . It is plainly enough the felt pitch relations , depending upon the ...
... pitch order is to the nature of sounds , so in composition with them we have no adequate control of structural forms or distinctly perceptible intelligible patterns . It is plainly enough the felt pitch relations , depending upon the ...
Pagina 71
... pitch corresponding to which is thus the nearest related pitch to the Tonic itself . It is the Dominant , as above , and we may indicate it from now on as D , the Tonic by T , and the octave of the Tonic , or the Tonic an octave above ...
... pitch corresponding to which is thus the nearest related pitch to the Tonic itself . It is the Dominant , as above , and we may indicate it from now on as D , the Tonic by T , and the octave of the Tonic , or the Tonic an octave above ...
Pagina 74
... pitch relations defined to the ear within any single sound which has clearly distinguishable pitch . Notes at these intervals have these determinate pitch relations to one another , and the intervals are thus dictated by the heard ...
... pitch relations defined to the ear within any single sound which has clearly distinguishable pitch . Notes at these intervals have these determinate pitch relations to one another , and the intervals are thus dictated by the heard ...
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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