AEsthetic Analysis |
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Risultati 1-3 di 37
Pagina 66
without the fundamental , that is to say by setting up vibrations in a separate
string , half the length of the original string , will sound like what we heard before .
Naturally so , since it was heard before as a large part of the sound which we
called ...
without the fundamental , that is to say by setting up vibrations in a separate
string , half the length of the original string , will sound like what we heard before .
Naturally so , since it was heard before as a large part of the sound which we
called ...
Pagina 67
a е с same n a vibration rate three times that corresponding to the pitch of 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 ...
a е с same n a vibration rate three times that corresponding to the pitch of 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 ...
Pagina 68
The Dominant is the pitch corresponding to vibrations of a string as divided into
thirds , or , if we choose to put it so , it is the pitch corresponding to a vibration rate
three times that for the fundamental . The pitch relation of the Dominant to the ...
The Dominant is the pitch corresponding to vibrations of a string as divided into
thirds , or , if we choose to put it so , it is the pitch corresponding to a vibration rate
three times that for the fundamental . The pitch relation of the Dominant to the ...
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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