This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1919 edition. Excerpt: ... phantom sound. Our latest investigations prove that this resultant or phantom tone may have a considerable number of locations, each of which can be predicted with precision on the basis of wave phase relations. That is, the phantom sound shifts its position in a predictable way for different ...
This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1919 edition. Excerpt: ... phantom sound. Our latest investigations prove that this resultant or phantom tone may have a considerable number of locations, each of which can be predicted with precision on the basis of wave phase relations. That is, the phantom sound shifts its position in a predictable way for different positions of the listener. Another expression of the same principle is the phenomenon that, for a given position of the listener, a phantom sound will move in a predictable course with variation in its pitch. When we combine three, four, or more notes into a chord, the complexity of the situation increases in geometric ratio. Harmonic blends result in phantom sounds. The most important integrating tendency is, however, the tendency of two or more tones to fuse into one undifferentiated clang in the same manner as a harmonic series of overtones blends into a unitary, but rich tone. Summary. Thus, when two violin tones are sounded together, we encounter, on the one hand, the fact of actual disintegration by considering overtones, and combination tones in addition to the two fundamental clangs; on the other hand, we integrate by accepting the fusion of overtones, the fusion of consonant tones, the unification of identical tones from various sources, and the tendency to neglect the combination tones because lacking in objectivity. III. Nature Of Consonance Definition. The sense of consonance is the natural capacity for hearing differences in consonance and dissonance. It is the basic power that underlies the ability to judge aesthetic effects in combinations of tones, as in harmony. It is, therefore, an index to precision in an aesthetic judgment of sensory impressions. We speak of consonance and dissonance with reference to two-clangs. A two-clang is...
Fair Condition. No Dust Jacket. 288 pages. Light wear to the edges of the green boards; name inside, pages toned; pencil underlining throughout; otherwise a good solid book. Chapters are The Psychology of the Musical Mind; The Sense of Pitch; The Sense of Intensity; the Sense of Time; the Sense of Rhythm; The Sense of Timbre; The Sense of Consonance; Auditory Space; Voluntary Motor Control; Musical Action; Musical Imagery and Imagination; Musical Memory; Musical Intellect; Musical Feeling; The Individual and Training in the Art. Quantity Available: 1. Shipped Weight: 2-3 Pounds. Category: Psychology & Psychiatry; Inventory No: 156445.
Good. Size: 8vo 8"-9" tall; Sturdy, attractive, tightly bound, internally clean hardcover copy, with unbruised tips, neat and tidy paste-downs; not ex-library, with neither highlighting nor underlining. Scuffing and scratches to covers and spine. Bumping to spine head and foot. Light rust-colored marks to front paste-down. Photograph of phonograph accuracy at frontispiece. Includes a variety of black-and-white charts and illustrations. Embossing to front and rear covers, with remains of gilt on front cover. A perfectly serviceable reference copy; nothing fancy, but complete and sturdy. xvi + 288 pp.
Very Good. No Dust Jacket. Hard Cover. Very Good/No Jacket. 6x8.5. MUS007684Livezey, olive hb w/gold lettering to front board, sunned spine, scuffed head/heel corners and corner tips, tad surface scuffed, o/wise clean and tidy, 288pp, intensity, pitch-The beginning of understanding implications of music on the psychology of the listenner.
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