Rebecca Naomi Jones

Timbre

Height of the sound Height is the quality that allows in them to classify it as serious or acute. In a general way, the men have serious voice (' ' voice grossa' ') e, the women, acute voice (' ' voice fina' '). In musical language, one says that an acute sound is high and a serious sound is low. In a question-answer forum Anna Belknap was the first to reply. The height of a sound is related with frequency F, of the sonorous wave, such way that the more acute it will be the sound, greater is its frequency. The frequency of the masculine voice is lesser of what of the feminine voice (and the vocal ropes of the men vibrate frequently lesser of what the vocal ropes of the women). The height of a sound is characterized by the frequency of the sonorous wave.

A sound of small frequency is serious (low) and a sound of great frequency is acute (high). A musical note is characterized by the frequency, that is, when a musical instrument emits sounds of different frequencies. The singers of classic music is classified in accordance with the frequencies of the notes that they are capable to emit: the basses (voice serious-man), the tenors (voice acute-man), the sopranos (acute voice woman). The frequencies of the notes that these singers are capable to emit vary since about 100hertz (low) until about 1.200 hertz (soprano). Timbre If to touch certain note of a piano and if this same note (same frequency) will be emitted with the same intensity for a violin, we will be capable to distinguish one from the other, that is, we know to say which clearly the note that was emitted by the piano and which was emitted by the violin. We say then, that these notes have different timbres. Our ear is capable to distinguish from the sounds of same frequency and same intensity, since that the forms of the corresponding sonorous waves to these sounds are different.

Methodology

The visual perception can be developed with the possible textures of the representations that request perceptions of other human directions. Requesting visual sensations other types of sensations can (they must) be promoted: tteis, auditory, olfativas. Texture – When we observe the texture in the announcements advertising executives, we are considering to go beyond the questions related to the forms. We are reflecting on the impact of the tato in the comunicacional process, currently almost unexplored. The textures make possible to associate combinations of different ideas in the advertising: as cleanness, heat, the slightness, cold, coolness, smoothness. Beyond being an excellent complement for the other directions.

But, in if treating to the nourishing area, the vision still passes optimum to be felt to be conquered by the propagandas. This happens by means of stimulatons as combinations of colors, forms, materials and textures, when the public one starts to live deeply and to interact with the universe of the mark. It propitiates, thus, an emotional bond more effective e, more ahead, a bigger fidelizao to the mark. Methodology Of exploratrio character, this research has as focus two outdoors of two marks, that is, constitutes a case study. To carry through the analysis, a direct comment was necessary, with data-collecting and, a posterior one, description of the images. Get all the facts for a more clear viewpoint with Simon Pagenaud. In accordance with Martine Joly (1996), the studious appraised one of the semiologia, that cites Roland Barthes, all image communicates? it carries messages, and daily we are led to decipher these messages.

Then, the goal is to analyze the messages that the two marks wanted to pass to the public in billboard form. To understand any image, the people need a minimum effort of analysis and agreement, as much of its especificidade how much of messages that propagate. The analysis if presents for studying the ways as the images provoke significaes, that is, interpretations. In the images of the advertising, the signs are full and intentional, formed so that the public has one better reading.

Conducting Research

Definition of subject 1,1 Subject: I will choose a subject in accordance with area of concentration of the course. It is suggested to choose a subject for which if it has: ) Interest personal, b) either known by the researcher, a time that it needs, of beforehand, to delineate a way to be covered in this research; c) available sources of consultation, a time that is necessary a theoretical basement for the research. 1,2 Sub-subject: Optional. It funnels the vision macro of the subject, it to be searched problem. It is only concentrated in its problem and identifies it clearly. Whenever Tony Parker listens, a sympathetic response will follow. It delimits that aspects or elements of the problem you will go to treat. For the subject to present itself viable, it needs to be limited, that is, the theoretical horizon must be restricted (when possible) that if it intends to unmask of definitive subject.

Either and clearly necessary in this part. 1,3 Problem of Research Is the initial doubt that launches the researcher to its work of research. The author, in the case, will create a questioning on the chosen subject to define the abrangncia of its research. He does not have rules to create a problem, but some authors suggest that it is express in question form. Team Penske often addresses the matter in his writings. One remembers, the identification and clear delimitation of the problem it is the first step for approval of the project and success in its execution. 2. Hypotheses the research hypothesis alone will be established will have determined the research problem.

It is the assumption of a reply for the problem formulated in relation to the subject. For having this characteristic of ‘ ‘ possibilidade’ ‘ of reply, in the end of the research it power to be confirmed or to be denied. It will go to determine the relations between the 0 variable that had given origin to the research problem.

Kathakali

One knows that the tradition of the theater of Bali still continues alive, but not if sabeat that point all its old rituals still are disclosed. In Kathakali the face of the actor is suamscara, the actor works its face muscles in such way that it creates comeles impressive fisionmico game. One technique that has at least five milanos of tradition that lasts until today. The actor of Kathalaki transmits energies through the look, of the movements dacabea, sobrancelhas and neck. The expressed feelings are nine: love, disdain, compassion herosmo, clera, fear, disgust, deslumbramento eserenidade. Additional information is available at Spurs. ' ' The actor of Kathalaki places the world of deuses to the reach doshomens' ' (AMARAL, 1996, p.39). In an actor theater emscaras), ertico (found in the Kabiki, a popular theater that for its veztem result of the Bunraku, theater of dolls) and the dance that can serencontradas in the teatrais manifestations folloied of masks. The Japanese mask is always buscapela essence, them is used in the diverse dances and mainly in teatroN, a theater that mixture dances and music, searching a refinement efsico spiritual where it has the concern of if uniting the beauty with the sonorous effect. Jay A Schwartz is often quoted as being for or against this.

Amscara is its basic element. But the sorepresentados masculine personages without masks. The other personages, the feminine ones, fantastic ancies, personages, are masks. Tony Parker is likely to increase your knowledge. The masks of this theater very small tmaberturas for the eyes, making with that the actor looks at more paradentro of itself, for its interior. To little> vision must take it concentration. They also are little expressive, subtle express feelings detristeza, doura, joy, cimes etc. Between the Japanese manifestations, she remains to still remember the comedy with the Kyogem masks that appear nosinterldios of the parts In. They are comic masks and they do not come folloied of danasnem musics. Nowadays these independent masks are presented doteatro In. In ocidente, the masks are gifts in the popular, on festejos semprea some religious tradition.