Æsthetic AnalysisCrowell, 1967 - 211 pagine |
Dall'interno del libro
Risultati 1-3 di 82
Pagina 17
... sound simply because no musical sound lies outside this order , and because anything that lies in this order is a musical sound . Nothing that has pitch can fail to be a sound , and no sound fails to have a pitch . Colors and areas ...
... sound simply because no musical sound lies outside this order , and because anything that lies in this order is a musical sound . Nothing that has pitch can fail to be a sound , and no sound fails to have a pitch . Colors and areas ...
Pagina 46
... sound ( and we dis- tinguish sounds from noises by just this criterion that they have clearly perceptible pitch ) ... sound can be removed from this given pitch order . Nor can anything enter this order except sounds . By virtue of being ...
... sound ( and we dis- tinguish sounds from noises by just this criterion that they have clearly perceptible pitch ) ... sound can be removed from this given pitch order . Nor can anything enter this order except sounds . By virtue of being ...
Pagina 64
... sound is emitted . When vibration rates are rapid enough and not too rapid a sound is produced with definite pitch . It is these familiar natural facts about the determin- ately timed vibration rates of physical things , and their ...
... sound is emitted . When vibration rates are rapid enough and not too rapid a sound is produced with definite pitch . It is these familiar natural facts about the determin- ately timed vibration rates of physical things , and their ...
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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