Rhythm And Harmony in Poetry And Music Together With Music As a Representative
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To quickly assess the difficulty of the text, read a short excerpt:
As for the speaking voice, its range extends neither so low nor so high as that of instrumental music ; nevertheless it can use a very much larger number of notes. Suppose that we limit its range to two octaves, and take for the lowest note the bass C Z LIB**/.
CF THE RHYTHM AND HARMONY IN POETRY AND MUSIC.
of the male voice, 1 representing 132 vibrations a second, and for the highest note the C two octaves above this, representing 528 vibrations a second. This leaves, be- tween the two notes, ...396 distinct degrees of pitch, and the reading voice is at liberty to use all of these. But the singing voice within the same range can use only twenty-four of them.
What is the cause of this difference? Why, within these limits, are the possibilities of pitch in poetry prac- tically unrestricted, and in music restricted so greatly? Undoubtedly it is connected with the fact that, in the one, words are used, and in the other, at least in instru- mental music, sounds without words. It would be pos- sible, of course, in all cases to add music to verse, that is, to chant all poetry, as well also as to add words to melody, and to articulate all music.
What to read after Rhythm And Harmony in Poetry And Music Together With Music As a Representative?
You can find similar books in the "Read Also" column, or choose other free books by George Lansing Raymond to read onlineMoreLess
To quickly assess the difficulty of the text, read a short excerpt:
As for the speaking voice, its range extends neither so low nor so high as that of instrumental music ; nevertheless it can use a very much larger number of notes. Suppose that we limit its range to two octaves, and take for the lowest note the bass C Z LIB**/.
CF THE RHYTHM AND HARMONY IN POETRY AND MUSIC.
of the male voice, 1 representing 132 vibrations a second, and for the highest note the C two octaves above this, representing 528 vibrations a second. This leaves, be- tween the two notes, ...396 distinct degrees of pitch, and the reading voice is at liberty to use all of these. But the singing voice within the same range can use only twenty-four of them.
What is the cause of this difference? Why, within these limits, are the possibilities of pitch in poetry prac- tically unrestricted, and in music restricted so greatly? Undoubtedly it is connected with the fact that, in the one, words are used, and in the other, at least in instru- mental music, sounds without words. It would be pos- sible, of course, in all cases to add music to verse, that is, to chant all poetry, as well also as to add words to melody, and to articulate all music.
What to read after Rhythm And Harmony in Poetry And Music Together With Music As a Representative?
You can find similar books in the "Read Also" column, or choose other free books by George Lansing Raymond to read onlineMoreLess
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