Torrent Monkeys Go Home 1967 Chevy
Torrent Monkeys Go Home 1967 Mustang; - Reigning Sound Love And Curses Rarest. Reviewed by rug-5 Vote: 7/10/10 I loved watching this as a kid. It was in two parts on Sunday nights on'The Wonderful World Of Disney' or whatever name the show was using atthe time. And our country (New Zealand) only had B&W.
Release Date:DVD Release Date:Not Yet Rated 1 hr 29 min Plot SummaryHank (Dean Jones) learns he is the heir to a crumbling French olive farm, so he packs his bags and heads for Europe. On his arrival, kindly priest Father Sylvain (Maurice Chevalier) and maid Maria (Yvette Mimieux) convince him that getting the property up and running is going to take quite a bit of work. Feeling inspired, Hank decides to use four chimps as helping hands, but the mischievous monkeys run amok, and Hank and his friends must think of a plan to outsmart the playful beasts.Cast:,Director:Genres:Children,Keywords:,.
PRINCIPAL UNSIGNED ARTICLESHarrow.Hartford.Hartlepool.Harvard University.Harz Mountains.Hat.Havana.Hawaii.Hazel.Health.Heath.Hebrides, The.Heidelberg Catechism.Heligoland.Heliostat.Hellebore.Helmet.Hemp.Herbarium.Herefordshire.Hero.Hertfordshire.Hesse.Hesse-Cassel.Hesse-Darmstadt.High Place.Highway.Hockey.Holly.Homily.Honduras.Hong-Kong.Hostage.Hottentots.Household, Royal.Hudson’s Bay Company.Huntingdonshire.1HARMONY (Gr. Ἁρμονία, a concord of musical sounds,ἁρμόζειν to join; ἁρμονική (sc. Τεχνή) meant the science orart of music, μουσική being of wider significance), a combinationof parts so that the effect should be aesthetically pleasing. Inits earliest sense in English it is applied, in music, to a pleasingcombination of musical sounds, but technically it is confinedto the science of the combination of sounds of different pitch.I. Concord and Discord.—By means of harmony modernmusic has attained the dignity of an independent art. In ancienttimes, as at the present day among nations that have not comeunder the influence of European music, the harmonic sense was,if not altogether absent, at all events so obscure and undevelopedas to have no organizing power in the art. The formation bythe Greeks of a scale substantially the same as that which hasreceived our harmonic system shows a latent harmonic sense,but shows it in a form which positively excludes harmony as anartistic principle.
The Greek perception of certain successionsof sounds as concordant rests on a principle identifiable with thescientific basis of concord in simultaneous sounds. But theGreeks did not conceive of musical simultaneity as consisting ofanything but identical sounds; and when they developed thepractice of magadizing— i.e. Singing in octaves—they did sobecause, while the difference between high and low voices wasa source of pleasure, a note and its octave were then, as now,perceived to be in a certain sense identical. We will now startfrom this fundamental identity of the octave, and with it tracethe genesis of other concords and discords; bearing in mindthat the history of harmony is the history of artistic instinctsand not a series of progressive scientific theories.Ex.
1.—The notesmarked. are out oftune.The unisonous quality of octaves is easily explained when weexamine the “harmonic series” of upper partials (see ).Every musical sound, if of a timbre at all rich (and hencepre-eminently the human voice), contains some of these upperpartials. Hence, if one voice produce a note which is an upperpartial of another note sung at the same time by another voice,the higher voice adds nothing new to the lower but only reinforceswhat is already there. Moreover, the upper partials of thehigher voice will also coincide with some of the lower. Thus,if a note and its octave be sung together, the upper octave isitself No. 2 in the harmonic series of the lower, No.
2 of its ownseries is No. 4 of the lower, and its No. 6, and so on.
Theimpression of identity thus produced is so strong that we oftenfind among people unacquainted with music a firm convictionthat a man is singing in unison with a boy or an instrument whenhe is really singing in the octave below. And even musicalpeople find a difficulty in realizing more than a certain brightnessand richness of single tone when a violinist plays octaves perfectlyin tune and with a strong emphasis on the lower notes.Doubling in octaves therefore never was and never will be aprocess of harmonization.Now if we take the case of one sound doubling another in the12th, it will be seen that here, too, no real addition is made bythe higher sound to the lower.
The 12th is No. 3 of the harmonicseries, No. 2 of the higher note will be No. 6 of the lower, No. 9, and so on. But there is an important differencebetween the 12th and the octave.
However much we alter theoctave by transposition into other octaves, we never get anythingbut unison or octaves. Two notes two octaves apart are justas devoid of harmonic difference as a plain octave or unison.But, when we apply our principle of the identity of the octaveto the 12th, we find that the removal of one of the notes by anoctave may produce a combination in which there is a distinctharmonic element. If, for example, the lower note is raised byan octave so that the higher note is a fifth from it, No. 3 of theharmonic series of the higher note will not belong to the lowernote at all. The 5th is thus a combination of which the two notesare obviously different; and, moreover, the principle of theidentity of octaves can now operate in a contrary direction andtransfer this positive harmonic value of the 5th to the 12th,so that we regard the 12th as a 5th plus an octave, instead ofregarding the 5th as a compressed 12th.
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Here are the six common chords of the diatonic scale. The triadon the 7th degree or “leading-note” (B) is a discord, and is thereforenot given here.Now, in the 16th century it was neither necessary nor desirablethat chords should be grouped exclusively in this way. Therelation between tonic, dominant and subdominant mustnecessarily appear at the final close, and in a lesser degree atsubordinate points of repose; but, where no harmonies weredwelt on as stable and independent entities except the majorand minor triads and their first inversions, a scheme in whichthese were confined to the illustration of their most elementaryrelationship would be intolerably monotonous. It is thereforeneither surprising nor a sign of archaism that the tonality ofmodal music is from the modern point of view often very indefinite.On the contrary, the distinction between masterpiecesand inferior works in the 16th century is nowhere more evidentthan in the expressive power of modal tonality, alike where itresembles and where it differs from modern. Nor is it too muchto say that that expressive power is based on the modern sense ofkey, and that a description of modal tonality in terms of modernkey will accurately represent the harmonic art of Palestrinaand the other supreme masters, though it will have almost aslittle in common with 16th-century theory and inferior 16th-centurypractice as it has with modern custom.
We mustconceive modal harmony and tonality as a scheme in whichvoices move independently and melodiously in a scale capableof bearing the three chords of the tonic, dominant and subdominant,besides three other minor triads, but not under suchrestrictions of symmetrical rhythm and melodic design as willnecessitate a confinement to schemes in which these three cardinalchords occupy a central position. The only stipulation is thatthe relationship of at least two cardinal chords shall appear atevery full close. At other points the character and drift of theharmony is determined by quite a different principle—namely,that, the scale being conceived as indefinitely extended, thevoices are agreed in selecting a particular section of it, the positionof which determines not only the melodic character of each partbut also the harmonic character of the whole, according to itsgreater or less remoteness from the scale in which major cardinalchords occupy a central position.
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Historically these modeswere derived, with various errors and changes, from the purelymelodic modes of the Greeks. Aesthetically they are systemsof modern tonality adapted to conditions in which the range ofharmony was the smallest possible, and the necessity for whatwe may conveniently call a clear and solid key-perspectiveincomparably slighter than that for variety within so narrow arange.