Art in Theory (Volume 1); An Introduction to the Study of Comparative Aesthetics

George Lansing Raymond

ISBN 10: 0217176089 / ISBN 13: 9780217176088

Published by Cambridge Scholars Publishing, 2010

About this Item

Zustand: Sehr gut | Sprache: Englisch | Produktart: Bücher | Keine Beschreibung verfügbar.

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Bibliographic Details

• Title: Art in Theory (Volume 1); An Introduction to the Study of Comparative Aesthetics
• Publisher: Cambridge Scholars Publishing
• Publication Date: 2010
• Language: English
• ISBN 10: 0217176089
• ISBN 13: 9780217176088
• Binding: Soft cover
• Condition: Sehr gut
• Seller catalogs:
  • Bücher

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Synopsis

This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1909 edition. Excerpt: ...that notes which are harmonious are such as contain the same elements of pitch, or--what is the same thing--are notes in which effects of like pitch are repeated. For instance, when a string like that of a bass viol is struck, its note, if musical, is not single or simple: it is compound. Suppose that it produces the tone of the bass C--representing a sound-wave caused by the whole length of the string. This C is the main, or, as it is termed, the prime tone that we hear. But, at the same time, this same string usually divides at the middle, producing what is called a partial tone of the C above the bass, representing a sound-wave caused by one half the string's length. It often produces, too,partial tones of the G above this, of the C above this, and of the E above the last C representing sound-waves caused, respectively, by one third, one fourth, and one fifth of the string's length. These are not all the possible partial tones; nor are all the partials, in every instrument, invariably compounded with every prime tone: but only the pitch of these and, at times, of partials caused by waves of one sixth and one seventh of the string's length, with these partial's halves, duplicates, quadruplicates, etc., can produce harmony, the ear being apparently unable to detect like effects with more complicated subdivisions. In other words, the C, G, C, and E in this upper staff are in harmony with the lower C, because made up of effects that already enter into its composition. The chord as a whole, therefore, or any analogous development of it, is a result of putting like effects with like. The term harmony, though applied primarily to tones, is applied also to colors; and here it results from the same process, from the putting together of things that, in...