AEsthetic Analysis |
Dall'interno del libro
Risultati 1-3 di 38
Pagina 69
tes related as the to the note that we choose and call our Tonic , we have now
found the notes related to it as its Dominant , its Subdominant , and its Mediant ,
and defining the intervals named fifth , fourth , and third . We have also made out
the ...
tes related as the to the note that we choose and call our Tonic , we have now
found the notes related to it as its Dominant , its Subdominant , and its Mediant ,
and defining the intervals named fifth , fourth , and third . We have also made out
the ...
Pagina 70
It is the note to which the Octave , the Dominant , the Subdominant , and the
Mediant are directly related by the ... And it is the note to which the rest of the
scale notes , re , la , and si , are related through the Dominant and the
Subdominant .
It is the note to which the Octave , the Dominant , the Subdominant , and the
Mediant are directly related by the ... And it is the note to which the rest of the
scale notes , re , la , and si , are related through the Dominant and the
Subdominant .
Pagina 107
In musical notation , where the indicated divisions of time are relative ( a half -
note half the time of a whole - note , a ... a quick measure is often indicated by
writing a time signature as so many sixteenth - notes , or so many eighth - notes ,
to ...
In musical notation , where the indicated divisions of time are relative ( a half -
note half the time of a whole - note , a ... a quick measure is often indicated by
writing a time signature as so many sixteenth - notes , or so many eighth - notes ,
to ...
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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