AEsthetic Analysis |
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Risultati 1-3 di 19
Pagina 72
The vibration rates are in these ratios , and the pitches correspondingly related to
the Dominant and to the Subdominant will be seen to be as follows , where we
simply multiply the vibration rate of D and SD respectively by the same fractions ...
The vibration rates are in these ratios , and the pitches correspondingly related to
the Dominant and to the Subdominant will be seen to be as follows , where we
simply multiply the vibration rate of D and SD respectively by the same fractions ...
Pagina 120
... beating time accurately to their own performances , or in measuring the
rhythmical pattern of heard music by means of conventional patterns in gesture .
And few of us have such training . Without it we let our beat follow our own
irregularities ...
... beating time accurately to their own performances , or in measuring the
rhythmical pattern of heard music by means of conventional patterns in gesture .
And few of us have such training . Without it we let our beat follow our own
irregularities ...
Pagina 121
we let our beat follow our own irregularities of sound production , or we let it
follow not the temporal pattern of music heard but its more prominent aspects in
pitch and loudness , thus missing its basic temporal structure altogether . Such a
...
we let our beat follow our own irregularities of sound production , or we let it
follow not the temporal pattern of music heard but its more prominent aspects in
pitch and loudness , thus missing its basic temporal structure altogether . Such a
...
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abstract accent actual adequate ęsthetic analysis appears apply apprehended artists aspect attention basic basis become body called character characteristic clear clearly color complex concrete constitute course criticism defined definitely determinate direct directly discriminating distinct distinguished Dominant duration effect elements example exhibited experience expression fact familiar feeling felt field follow formal fully function fundamental give given grasp grouping hear hence human indicated individual intelligible intensity interest intervals intrinsic knowledge language least length less limited mark matter means measure merely nature notes object obvious octave once organism particular physical pitch possible present processes qualitative range relations relevant response rhythm scale scheme selected sense sensuous significant simply single sort sound spatial specific structure suggested surface systematic taken temporal pattern theory things tion Tonic variations verse vibration whole