<span>In geometry, a golden rectangle is a rectangle whose side lengths are in the golden ratio, which is, where is approximately 1.618</span>
Answer:
Yes, the relationship between Consonance and Dissonance is constant since ages.
Explanation:
In music, consonance and dissonance are categories of successive and simultaneous sounds. In one hand, Consonance is connected with sweetness, acceptability and pleasantness, while Dissonance is related with harshness and unpleasantness. But for years together they defined each other by mutual exclusion.
As Hindemith has rightly stressed, "<em>The two concepts have never been completely explained, and for a thousand years the definitions have varied, but they are together and constant</em>".
Answer:
The Orders
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Explanation:
The three main types of columns used in Greek temples and other public buildings are Doric, Ionic, and Corinthian. The truest and most basic difference among the orders has to do with proportions (Doric columns, for example, being thicker and shorter, Ionic columns taller and slimmer). As a shortcut, the orders may be distinguished most easily by their capitals (the tops of the columns). As you can see from the following examples, the Doric capital has the simplest design; the Ionic has the curlicues called volutes, and the Corinthian has the acanthus leaves
Doric is not only a type of column, but an "order"; this means that temples of the Doric order not only have this type of column, but also have a certain structure at the upper levels. The different types of orders (column plus entablature) are illustrated by these diagrams, from Perseus: Doric order, and Ionic order. The Doric order is characterized by the series of triglyphs and metopes on the entablature. Each metope was occupied by a panel of relief sculpture.
The Parthenon combines elements of the Doric and Ionic orders. Basically a Doric peripteral temple, it features a continuous sculpted frieze borrowed from the Ionic order, as well as four Ionic columns supporting the roof of the opisthodomos.
