Ęsthetic AnalysisCrowell, 1967 - 211 pagine |
Dall'interno del libro
Risultati 1-3 di 16
Pagina 76
... loudness necessary to our hearing either the fundamental or its partials , and to discriminating the intervals so defined ; the duration re- quired for hearing any note at all at any pitch or of any quality or loudness — all these are ...
... loudness necessary to our hearing either the fundamental or its partials , and to discriminating the intervals so defined ; the duration re- quired for hearing any note at all at any pitch or of any quality or loudness — all these are ...
Pagina 105
... loudness is the normal means of indicating the beginnings of measures , any ele- take on increased loudness without changing the pitch sequence , and hence any pitch element may begin a measure ; but this is not true in a sequence of ...
... loudness is the normal means of indicating the beginnings of measures , any ele- take on increased loudness without changing the pitch sequence , and hence any pitch element may begin a measure ; but this is not true in a sequence of ...
Pagina 200
... loudness , the intensity of color its brightness or its saturation , depending on our choice of color terms . And there is no distinguishable aspect that is the same in loudness of sound and brightness or saturation of color . In fact ...
... loudness , the intensity of color its brightness or its saturation , depending on our choice of color terms . And there is no distinguishable aspect that is the same in loudness of sound and brightness or saturation of color . In fact ...
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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