I like both of them, but their older, mellower stuff is more pleasing to the ear.
|
|
Plus, it sure sounds much more pleasing to the ear in conversation than throwing an odd "they" around, y'all.
|
|
Obviously noise stuff and improvisionational stuff doesn't need to sound pleasing to the ear but there has to be some intention to it like on this song.
|
|
If you're going to be shooting video, and you want to capture some audio that is actually pleasing to the ear, you're going to have to go external.
|
|
Indeed, performances of, say, Bach's music the way it sounded during Bach's lifetime can be immeasurably more pleasing to the ear than renditions by large orchestras using modern instruments.
|
|
Rachel Cantu "You're the Most" Rachel Cantu layers a lush, repetitive keyboard melody with her vocals, and something about the minor key chord changes make it so pleasing to the ear.
|
|
Those are not necessarily bad features, as Beats headphones have made abundantly clear with their tuning — which, while not particularly faithful or linear when drawn as a graph, is exceedingly pleasing to the ear.
|
|
As the musicologist Elizabeth Eva Leach has shown, birdsong was often held up by music theorists in the Middle Ages as a clear example of nonmusic, because, however pleasing to the ear, it lacked the harmonious ratios underpinning music created by rational humans.
|
|
Instead, they reconcile those who are divided, supporting unity, delighting in harmony, loving harmony, speaking words that promote harmony." # "They give up harsh speech. They speak in a way that’s mellow, pleasing to the ear, lovely, going to the heart, polite, likable and agreeable to the people." # "They give up talking nonsense.
|
|
The rhymes are not perfect, but when read out loud the rhyme scheme is pleasing to the ear. It is also worth noting that the poem ends with three rhyming lines: “the singer stopped playing and went to bed / While the Weary Blues echoed through his head / He slept like a rock or a man that’s dead.” The last three lines are a finite conclusion.
|
|
As the guitar signal's waveform reaches the amplifier's limits, amplification decreases—rounding off the top of the waveform. This amounts to compression of individual wave cycles, and is pleasing to the ear. High volume can induce audio feedback, which a guitarist can control to dramatically increase sustain. By holding the guitar at a certain distance and angle from the amplifier speakers, a guitarist can create a continuous, undecaying sound.
|
|
Companies in Asia and Eastern Europe continue to produce valves to cater to this market. Many professional guitar players use 'tube amps' because of their renowned 'tone'. 'Tone' in this usage is referring to timbre, or pitch color, and can be a very subjective quality to quantify. Most audio technicians and scientists theorize that the 'even harmonic distortion' produced by valve tubes sounds more pleasing to the ear than transistors, regardless of style.
|
|
Song lyrics also use the speech tones of Mandarin Chinese in ways that are pleasing to the ear and convey proper meaning and emotion. The first and second of Chinese's four tones are normally known as "level" (ping) tones in Peking opera, while the third and fourth are called "oblique" (ze). The closing line of every couplet in a song ends in a level tone. Songs in Peking opera are proscribed by a set of common aesthetic values.
|
|
A more subtle form of modulation within the same maqam is to shift the emphasis from one jins to another so as to imply a new maqam. Modulation adds a lot of interest to the music, and is present in almost every maqam-based melody. Modulations that are pleasing to the ear are created by adhering to compatible combinations of ajnas and maqamat long established in traditional Arabic music. Although such combinations are often documented in musical references, most experienced musicians learn them by extensive listening.
|
|
The single is about "Reira's loneliness, pain, and strength," as Olivia found that she could relate well to the character. Olivia later said that her musical expression had changed, that the hiatus was because she had been "feeling pretty depressed," and "started to notice and realize a lot of her faults" and that her style "has gotten a lot more detailed," it's "pleasing to the ear"and "a lot cooler". Olivia had to research Reira's character, as she "never really read manga". "A Little Pain" is specifically tailored to the point of view of Reira.
|
|
At times she seems hopelessly lovesick, a prime candidate for any heartbreaker's ruse, but on "You Did It All Before," "Clock," and "Don't Fade Away" she sounds a lot older and wiser, no stranger to hurt and disillusionment." Let It Rock said: "Milla Jovovich is not only attractive to the eye, but also pleasing to the ear. Her songs take form in fairytale poetry, as if she were some medieval storybook princess, held captive against her will in a Dragon's Lair. Authentic Russian acoustic instruments create a soundscape of delicate beauty, ethereal, yet soulful and heartfelt.
|
|
Papers on noise pollution are increasingly taking a holistic, soundscape approach to noise control. Whereas acoustics tends to rely on lab measurements and individual acoustic characteristics of cars and so on, soundscape takes a top-down approach. Drawing on John Cage's ideas of the whole world as composition,needs citation soundscape researchers investigate people's attitudes to soundscapes as a whole rather than individual aspects – and look at how the entire environment can be changed to be more pleasing to the ear. A typical application of this is the use of masking strategies, as in the use of water features to cover unwanted white noise from traffic.
|
|
Mehldau and his longstanding trio (with Larry Grenadier on bass and drummer Jeff Ballard) play with a preternatural relaxation and ease throughout, often using a subtle Latin feeling. There is an incredible amount of space within the center of these performances, and those gaps and silences, those pauses between notes and beats, open up huge possibilities that the musicians fill with imagination." Geno Thackara of All About Jazz stated, "The trio continually enjoys the easy back-and-forth of longtime mates without losing any spontaneity. Whether there's some complexity behind a song's structure or not, the results are always pleasing to the ear and no trouble to simply follow if you don't feel like dissecting what's going on.
|
|
It was dubbed as a "celebration of creativity; of community; of music past, present… and Füxa". Comprising a sixteen-strong army of collaborators, including BJ Cole, Ann Shenton of Add N to (X), Judy Dyble and Britta Phillips. Füxa's tenth full-length album, Dirty D, was released on Rocket Girl in 2013. It is suggested to display a penchant for swirling electronica and atmospheric downbeats that have been compiled in a way which is constantly pleasing to the ear. The dirty ‘D’ of the title could refer to a number of disquieting facets of today's society – the dominance of Disney, the illusion of democracy, dereliction – and, in contrast to Disney's sickly saccharine supremacy over our children's imaginations.
|
|
He was born as Henry Samuel Hallam Mayer in Clerkenwell in London in 1850, one of four children born to Elizabeth née Williams and Martin Mayer, a furrier of 8 Greystoke Place, Fetter Lane. He studied singing with Joseph Robinson in Liverpool before commencing a professional career as a teenage burlesque performer. After a brief time in London Hallam sailed to Melbourne in Australia where from 1870 to 1872 he embarked on a successful singing career touring with the Royal English Opera Company, on one occasion being described as 'a young gentleman with a very pretty, very light tenor voice, extremely smooth and pleasing to the ear’. During this period he appeared with Alice May, Armes Beaumont and Fanny Simonsen, among others.
|
|
Thus saj' (rhyme) came to be the first and natural > form of artistic composition prompted by the instinct for symmetry and > balance in the structure of short, compact sentences specially designed for > intonation and oral transmission without being committed to writing. The > saj' existed before meter; the evolution of metrical forms only pushed it to > the end of a verse under the name of qafiyah. According to Al-Jahiz, the advantages of rhymed prose are twofold; it is pleasing to the ear and easy to remember. He says the Arabs have uttered a far greater quantity of simple than of rhymed prose, and yet not a tenth of the former has been retained while not a tenth of the latter has been lost.
|
|
A large proportion of Arabic literature before the 20th century is in the form of poetry, and even prose from this period is either filled with snippets of poetry or is in the form of saj' or rhymed prose. The themes of the poetry range from high-flown hymns of praise to bitter personal attacks and from religious and mystical ideas to poems on women and wine. An important feature of the poetry which would be applied to all of the literature was the idea that it must be pleasing to the ear. The poetry and much of the prose was written with the design that it would be spoken aloud and great care was taken to make all writing as mellifluous as possible.
|
|
The crises regarding polyphony and intelligibility of the text and the threat that polyphony was to be removed completely, which was assumed to be coming from the council, has a very dramatic legend of resolution. The legend goes that Giovanni Pierluigi da Palestrina (c. 1525/26–1594), a Church musician and choirmaster in Rome, wrote a Mass for the council delegates in order to demonstrate that a polyphonic composition could set the text in such a way that the words could be clearly understood and that was still pleasing to the ear. Palestrina's Missa Papae Marcelli (Mass for Pope Marcellus) was performed before the council and received such a welcoming reception among the delegates that they completely changed their minds and allowed polyphony to stay in use in the musical liturgy.
|
|
Peter Lalor of The Daily Telegraph also gave it 4 stars calling it "one of the more interesting "project" albums to have come from these shores." In Michael Duffy's 4 star review in The Advertiser he states "this album is pleasing to the ear and an important step forward in the reconciliation process." The Sunday Mail called it "a work of art" saying it "mixes culture with music, heart with soul, black with white, sweet with sour." On 12 October 2001 SBS Television broadcast an episode of ICAM, "Corroboration", which detailed "the coming together of Indigenous and non- indigenous musicians to record the new Festival Mushroom Records Corroboration CD." The episode was also issued as a music video of the same name, produced by Karla Grant and Darren Dale.
|
|
During the Classical era, C minor was used infrequently and always for works of a particularly turbulent cast. Mozart, for instance, wrote only very few works in this key, but they are among his most dramatic ones (the twenty-fourth piano concerto, the fourteenth piano sonata, the Masonic Funeral Music, the Adagio and Fugue in C minor and the Great Mass in C minor, for instance). Beethoven chose to write a much larger proportion of his works in this key, especially traditionally "salon" (i.e. light and diverting) genres such as sonatas and trios, were a sort of conscious rejection of older aesthetics, valuing the "sublime" and "difficult" above music that is "merely" pleasing to the ear. Chapters 30 ("The First Romantics") and 31 ("C-Minor Moods") The key is said to represent for Beethoven a "stormy, heroic tonality"; he uses it for "works of unusual intensity";Bromberger, Eric.
|
|