Æsthetic AnalysisCrowell, 1967 - 211 pagine |
Dall'interno del libro
Risultati 1-3 di 53
Pagina 66
... called the sound of the 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 ...
... called the sound of the 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 ...
Pagina 74
... called fifths , fourths and so on , are defined in the partials , which lie at these distances from the fundamental or from one another . In hearing any note sounded , then , we have heard the interval called a fifth , the interval called ...
... called fifths , fourths and so on , are defined in the partials , which lie at these distances from the fundamental or from one another . In hearing any note sounded , then , we have heard the interval called a fifth , the interval called ...
Pagina 146
... called thinking or what should be so called . It is not discriminating and abstracting activity , however fully it may be conditioned by such activity . It is , instead , concrete feeling . And concrete feeling is feeling something that ...
... called thinking or what should be so called . It is not discriminating and abstracting activity , however fully it may be conditioned by such activity . It is , instead , concrete feeling . And concrete feeling is feeling something that ...
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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