Æsthetic AnalysisCrowell, 1967 - 211 pagine |
Dall'interno del libro
Risultati 1-3 di 20
Pagina 72
... follows , where we simply multiply the vibration rate of D and SD respectively by the same fractions we have employed on T. The re- sults may be tabulated as follows : The first table multiplies the vibration rate of the fundamental or ...
... follows , where we simply multiply the vibration rate of D and SD respectively by the same fractions we have employed on T. The re- sults may be tabulated as follows : The first table multiplies the vibration rate of the fundamental or ...
Pagina 75
... follow the simple rule that the octave , the fifth , and then the third , are the most clearly heard partials in this order of prominence , the one fact that this order is commonest in voices and strings , is enough to indicate the ...
... follow the simple rule that the octave , the fifth , and then the third , are the most clearly heard partials in this order of prominence , the one fact that this order is commonest in voices and strings , is enough to indicate the ...
Pagina 132
... follows : I 2 3 bid me to I 2.3 Protes 6 6 live and I will live Thy 4 5 6 123 4 6 - ( or ) tant to be - 15 ( OF ) The regularly occurring rests at the ends of the second and fourth lines in each stanza make a division of the stanza into ...
... follows : I 2 3 bid me to I 2.3 Protes 6 6 live and I will live Thy 4 5 6 123 4 6 - ( or ) tant to be - 15 ( OF ) The regularly occurring rests at the ends of the second and fourth lines in each stanza make a division of the stanza into ...
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Parole e frasi comuni
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