Ęsthetic AnalysisCrowell, 1967 - 211 pagine |
Dall'interno del libro
Risultati 1-3 di 33
Pagina 66
... 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 " and name its pitch by ...
... 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 " and name its pitch by ...
Pagina 67
... fundamental . Since dividing the length of the string into halves doubles the vibration rate , and into thirds multiplies the rate by three , instead of speaking of a note with pitch corresponding to the vibration rate of half the ...
... fundamental . Since dividing the length of the string into halves doubles the vibration rate , and into thirds multiplies the rate by three , instead of speaking of a note with pitch corresponding to the vibration rate of half the ...
Pagina 68
... fundamental is that produced by vibrations of the quarters of the string , vibrations the rate of which is four times that corresponding to the pitch of the fundamental . But as the pitch corresponding to twice the vibration rate of the ...
... fundamental is that produced by vibrations of the quarters of the string , vibrations the rate of which is four times that corresponding to the pitch of the fundamental . But as the pitch corresponding to twice the vibration rate of the ...
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absolute pitch abstract accent acquaintance actual adequate aesthetic ęsthetic analysis ęsthetic content ęsthetic objects ęsthetic surface ęsthetic theory apply apprehended artists 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