Information Theory and Esthetic Perception |
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Page 30
... Orchestra in E Major 1.8 Concerto No. 2 for and Orchestra in A Minor Concerto No. 8 in A Minor Concerto for Three Claviers 1.1 1.1 Three Claviers 1.8 and Orchestra in C Major 1.1 Concerto for Four Claviers 1.8 Fantasy for Clavier in ...
... Orchestra in E Major 1.8 Concerto No. 2 for and Orchestra in A Minor Concerto No. 8 in A Minor Concerto for Three Claviers 1.1 1.1 Three Claviers 1.8 and Orchestra in C Major 1.1 Concerto for Four Claviers 1.8 Fantasy for Clavier in ...
Page 138
... orchestra has its own special in- strumentation . At best , one might imagine a notation , for an instru- ment with fixed sounds such as a piano , in which the symbolizations have some quantitative agreement with the sonic substance ...
... orchestra has its own special in- strumentation . At best , one might imagine a notation , for an instru- ment with fixed sounds such as a piano , in which the symbolizations have some quantitative agreement with the sonic substance ...
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Abraham A. Moles. the orchestral signal cannot give . The " phonemes " ( sonic objects ) of the orchestra possess a much more restricted repertoire of modes of attack ( consonants ) . " Recitative " uses the expressive identities between ...
Abraham A. Moles. the orchestral signal cannot give . The " phonemes " ( sonic objects ) of the orchestra possess a much more restricted repertoire of modes of attack ( consonants ) . " Recitative " uses the expressive identities between ...
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analogous animated cartoons apperceptual limit apprehension approximately artistic autocorrelation banal binary logarithm capacity cells cent channel Chap communication complexity composed concept Concerto considered defined determine difference thresholds dimensions duration elementary elements essential esthetic information esthetic message example experimental experimental music experiments frequency function harmonic hence individual information theory instruments intelligibility interest interval inversion language laws length letters log₂ logical magnetic tape mation maximum measure mechanism melodic memory mental psychology method Moles multiple messages musical message musical theory n-gram orchestra organization originality over-all perceive perception periodicity phenomenon phonetic pitch precisely present priori probabilities psychology receptor recording redundancy repertoire of symbols repetition rhythm role rules scanning semantic and esthetic semantic information sensory signal sonic material sonic message sonic objects sound spatial speech statistical structure Symphony theory of form timbres tion tone transients transmission transmitted uncertainty principle variations viewpoint white noise