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Keeping such free verse in mind, what we should note from the example above is that the size of an intonational phrase or its tonality varies.
Removing the grill cloth improved the speakers' tonality in the upper midrange, but the speaker does not look correct this way, and an even heavier hand on the treble control was required.
In both cases we can hear the folk inspiration and both employ a wide register of tonality, but there seems to be a lack of courage and therefore a loss of interest.
His poetry (and his performance of this poetry) during the Black Arts era was notable for its combination of a mythic African sensibility, an epic voice, a tonality and phrasing rooted in African American popular song (especially r & b and gospel), and a jazz rhythm derived significantly from John Coltrane and the "free jazz" artists of the 1960s.
I've been in rooms where the speaker's body language and tonality has no presence and the whole room becomes bored.
The sepia tonality gives the portrait a sense of timelessness.
Tonality refers to the relationship of a melody's tones to a central tone, or key, that gives the passage a musical or songlike nature.
This disc - like those of his Symphonies reviewed in an earlier issue - will do a great deal to renew appreciation of his music which has both a rich tonality and strict classical format.
They do this by weaving the lush tonality, simplicity, and repetition of minimalism into a centuries-old tapestry of medieval folk and religious music - particularly Eastern and Gregorian chant - thereby fashioning compositions described as having a mystical, almost transcendent, quality.
The Rhapsody Trio for Two Violins and Viola of 1928 was radical, with very un-English chromatics and Schoenbergian approach to tonality.
They discuss psychoacoustics; musical preference; views of why people have music, music's functions for individuals, and its social values and cultural importance; nonmuscial or extramusical purposes like therapy, ceremonies, enhancing a story, or selling something; perception, judgment, and measurement of music, as well as physical and psychophysical events; rhythmic behaviors; horizontal and pitch organization, tonality, scales, and value judgments, and related pedagogical issues; performance, improvisation, and composition; the affective response to music; the development and prediction of musical ability; music learning as a form of learning; music abnormalities; and future research.
The tonality of the Chamber Symphony, for example, could be perceived in terms of cycles of fourths and fifths and, as such, removed from the realm of hierarchy, directed motions, tensions-and-resolutions and other such functionalism implicit in the traditional concept of tonality.