Æsthetic AnalysisCrowell, 1967 - 211 pagine |
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Risultati 1-3 di 65
Pagina 17
... pitches variously . If , for example , there is a large pitch difference between the first and second notes , we say that one of them is far from the other in pitch and that the tune begins with a skip . But this would be impossible did ...
... pitches variously . If , for example , there is a large pitch difference between the first and second notes , we say that one of them is far from the other in pitch and that the tune begins with a skip . But this would be impossible did ...
Pagina 46
... pitch than A , and C is higher in pitch than B , then C is higher in pitch than A. It is clear then that every sound ( and we dis- tinguish sounds from noises by just this criterion that they have clearly perceptible pitch ) lies in ...
... pitch than A , and C is higher in pitch than B , then C is higher in pitch than A. It is clear then that every sound ( and we dis- tinguish sounds from noises by just this criterion that they have clearly perceptible pitch ) lies in ...
Pagina 71
... pitch of the Tonic . The halves of the string will vibrate at the rate 2x . This rate produces a sound at the pitch called the octave . The rates corresponding to pitches between the fundamental and its octave will run from x to 2x , or ...
... pitch of the Tonic . The halves of the string will vibrate at the rate 2x . This rate produces a sound at the pitch called the octave . The rates corresponding to pitches between the fundamental and its octave will run from x to 2x , or ...
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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