Sentence examples for instrumental characters from inspiring English sources

Where the earlier work is concerned, the texture owes its clarity largely to his thoroughly typical concern not so much with treble and bass as with the foreground and background placement of instrumental characters.

The good songs are plotted like mini thrillers and the record as a whole is populated with instrumental characters and motifs that show an impressive depth.

But it wasn't until later on that I found he had been one of the most instrumental characters in the music clubs of Los Angeles in the 70s and 80s, basically building Silverlake into the hip mecca it is now, and, beyond that, a prolific music supervisor who continues to thrive in the music industry today.

Alternatively, it is sometimes argued that the aesthetic experience has an intuitive character, as opposed to the conceptual character of scientific thought or the instrumental character of practical understanding.

For example, the pedal points, bass lines and instrumental character of Metallica's Orion forge links with Vivaldi's Concerto for Two Cellos, performed on bassoon and double bass.

In this theory knowledge has an instrumental character, with the disadvantage of also accepting lies as truth as long as they are useful [18].

The Normative Naturalist, in short, emphasizes the instrumental character of normative theorizing in epistemology, and then argues that the only way to assess instrumental claims is empirically to see what means really brings about what ends.

In a biography of Gray, it is suggested that the instrumental character of the soundtrack is emulated in later Anderson TV series, such as Thunderbirds.

The measures on the other end have a stronger instrumental character.

To understand violence by means of its instrumental character and not by personification of evil allows the victims to elaborate on their suffering based on the functions that violence operates in that relationship, and not based on a moral judgment of the aggressor.

In the early orchestral operas, he made more of the voice's lyrical qualities but continued to write vocal lines that were instrumental in character and rarely played to singers' strengths.