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accent appear ascending augmented triad b—DjF bass become beginning belongs close combined connexion consonance contains contradiction dactyl diminished triad dipody disjunct triads DjF—a dominant chord dominant Seventh chord dominant side dominant triad duality element enharmonic enter expression Fifth-meaning four-part four-timed metre fourth G major harmony Hauptmann hexachord higher order I-III-II I—III—II II—III—I interval joined key of G key-system latter leading note linked major key major system mediated metrical determination metrical formation middle minant minor key minor scale minor Sixth minor triad minor-major key modulation musical sound nature negative notion numbers Octave opposite pair pass passage principal ratio relation resolution rhythm rhythmical Root and Fifth scale scries second member secondary sense seventh degree Seventh-harmony simultaneous sixth degree stand subdominant and dominant subdominant chord subdominant side subdominant triad succession suspension three-timed metre tion tonic triad trochaic trochee twice-two-timed unaccented unequal-timed union unity whole
Page 340 - If, however, a scries is to appear syncopated, then the unsyncopated series must at the same time be present with it ; for without the normal series, of which the syncopated forms the metrical contradiction, the syncopated would itself be shown normally accented.
Page 12 - The determinations of the intervals of the triad have been hitherto taken as starting from a positive unity, a Root, to which the Fifth and Third are referred. They may also be thought of in an opposite sense. If the first may be expressed by saying, that a note has a Fifth and Third, then the opposite meaning will lie in a note being Fifth and Third.
Page 14 - The minor triad thus being of passive nature, and having its starting-point above (not its most real starting-point, yet that which is determined as unity), and forming from it downwards, there is expressed in it, not upward driving force, but downward drawing . weight, dependence in the literal, as well as in the figurative sense_of the word.
Page xxxviii - That which is musically inadmissible is not so because it is against a rule determined by musicians, but because it is against a natural law given to musicians from mankind, because it is logically untrue and of inward contradiction. A musical fault is a logical fault, a fault for the general sense of mankind, and not for a musical sense in particular.
Page xlviii - Where sound is to be produced, there is required an elastic, stretched, uniform material, and trembling or vibrating movement thereof. The parts of the body moved are then alternated in and out of their state of uniform cohesion. The instant of transition into this state of equality or inner unity is that which by our sense of hearing is perceived as sound. Sound is only an element of transition, from arising to passing away of the state of unity. Quickly succeeding repetitions of this element make...
Page 16 - The clement of negation may, however, be taken as ... principal determination ; that is here as tonic, middle of a key system, « whose dominant will then be a major chord, the premised positive, and its subdominant a minor chord.
Page 4 - In the notion of the unity of the three elerfients of the triad there is contained .in brief all determination which underlies the understanding, not only of chords as the simultaneous union of notes, but also of melodic progression and succession of chords...
Page 110 - ... knowledge of the structure of the human body and of the functions of the principal organs.
Page 12 - If the first may be expressed by saying, that a note has a Fifth and Third, then the opposite meaning will lie in a note being Fifth and Third. Having is an active state, being a passive one. The unity, to which the two determinations are referred in the second meaning, is passive : in opposition to the having of the first idea we find the second, being had. The first is expressed in the major triad, the second in the minor.