Æsthetic AnalysisCrowell, 1967 - 211 pagine |
Dall'interno del libro
Risultati 1-3 di 12
Pagina 67
... Dominant , is thus most closely related to the fundamental or Tonic in the sense that a considerable fraction of the sound heard as the Tonic itself is at this pitch of the Dominant . And this pitch is at a clearly heard pitch ...
... Dominant , is thus most closely related to the fundamental or Tonic in the sense that a considerable fraction of the sound heard as the Tonic itself is at this pitch of the Dominant . And this pitch is at a clearly heard pitch ...
Pagina 68
... Dominant to the Tonic is exactly the pitch relation of the Tonic to the Subdominant . In terms of di- rection and pitch distance the Subdominant is as far from the Tonic in one direction as the Dominant is in the other . For those ...
... Dominant to the Tonic is exactly the pitch relation of the Tonic to the Subdominant . In terms of di- rection and pitch distance the Subdominant is as far from the Tonic in one direction as the Dominant is in the other . For those ...
Pagina 69
... Dominant , its Subdominant , and its Mediant , and defining the intervals named fifth , fourth , and third . We have also made out the sense in which the pitches of these notes are ... Dominant , and Dominant of NATURAL BASIC STRUCTURES 69.
... Dominant , its Subdominant , and its Mediant , and defining the intervals named fifth , fourth , and third . We have also made out the sense in which the pitches of these notes are ... Dominant , and Dominant of NATURAL BASIC STRUCTURES 69.
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absolute pitch abstract accent acquaintance actual adequate æsthetic analysis æsthetic content æsthetic objects æsthetic surface æsthetic theory apply apprehended artists asthetic attention basic blank verse called character characteristic clear clearly color variations complex concrete conscious constitute crete criticism defined definitely degree determinate dimension direct directly discerned discriminating distinct distinguished Dominant duration elements English poetry exhibited experience expression fact familiar feeling felt formal function fundamental give given grasp hence human iambs indicated intelligible intrinsic knowledge Leverett House means Mediant merely musical scale nature notes obvious octave particular Pathétique Sonata perception physical pitch intervals pitch pattern pitch relations Polyclitus Prall present processes qualitative orders relevant rhythm rhythmical scale scheme sense sensory sensuous serial orders simply sonata form sort sound spatial specific string structure Subdominant syllables systematic temporal aspect temporal pattern tern things timbre tion Tonic trochees vibration rate whole words