The shared language of modern jazz, which is primarily grounded in bebop but also incorporates knowledge of other jazz styles, is primarily a consequence of the development of jazz education.
What about Jazz?The establishment of jazz programs at universities and conservatories, as well as the proliferation of jazz workshops and clinics, has allowed for the transmission and dissemination of jazz knowledge and techniques to a wider audience.
As a result, modern jazz musicians are able to draw on a vast array of jazz traditions and styles, and integrate them into their playing in new and innovative ways.
This has led to the creation of a shared language that is constantly evolving and adapting to new musical contexts.
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analyze the myth, film or other story of your choice using the raw/cooked axis of claude levi strauss.
Claude Levi-Strauss's "raw/cooked" axis is a concept used to analyze the way cultures transform raw materials into cooked food. This concept can also be applied to analyze myths, films, and other stories as cultural products that transform raw materials into cooked narratives.
One example of a story that can be analyzed using this axis is the movie "The Lion King." The raw materials of the story include the African savannah, lions, hyenas, and the circle of life.
These raw materials are transformed into a cooked narrative that features Simba, a young lion who must learn to become the rightful king of the Pride Lands.
The transformation of raw materials into cooked narrative is evident in the way the story portrays the circle of life. The raw material of the African savannah is transformed into a complex system where lions are the kings, hyenas are the outcasts, and all animals are part of a delicate balance.
Simba's journey from a carefree cub to a mature king mirrors the journey of the Pride Lands from a state of imbalance to a state of harmony.
Furthermore, the movie also highlights the transformation of raw emotions into cooked sentiments. The raw emotion of grief over the death of Mufasa is transformed into a cooked sentiment of responsibility and determination in Simba.
The raw emotion of jealousy and hatred in Scar is transformed into a cooked sentiment of evil and corruption.
In conclusion, the "raw/cooked" axis of Levi-Strauss is a useful tool to analyze the transformation of raw materials into cooked narratives in myths, films, and other stories.
"The Lion King" is an excellent example of how a story can use raw materials to create a complex narrative that reflects the cultural values and beliefs of its creators.
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what are important considerations in preserve design? (check all that apply.)
The important considerations in preserve design include the range of the species to be protected, availability of buffer zones, possible need for wildlife corridors to permit migration of species, and the organizations involved in preserve design.
The range of the species to be protected is essential in identifying the habitat requirements and the ecological processes that need to be preserved. Buffer zones are necessary to provide a buffer between the protected area and the surrounding areas, reducing the impact of human activities on the preserve. Wildlife corridors facilitate the movement of animals between protected areas and are vital for maintaining genetic diversity and avoiding inbreeding.
The organizations involved in preserve design are essential in determining the goals of the preserve, coordinating efforts, and ensuring funding. The publicity value of the species to be protected can be a consideration but should not be the primary concern in preserve design. Ultimately, the goal of preserve design should be to protect the ecological processes, habitats, and species within the preserve.
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Complete Question : What are important considerations in preserve design? (check all that apply.)
Range of the species to be protected.Availability of buffer zones.Possible need for wildlife corridors to permit migration of species.Organizations involved in preserve design.Publicity value of the species to be protected.
Answer the following question in 3-4 complete sentences. several votives of men standing with their hands folded in front of them. they have bulging eyes. what type of figures are pictured above? what is known about these figures by historians?
The figures described above are likely votive statues. Votive statues were commonly used in ancient religious practices and were typically offered as a form of devotion or gratitude to deities.
The men standing with their hands folded in front of them suggest a posture of reverence or prayer. The bulging eyes may indicate a specific artistic style or symbolism associated with the particular culture or time period these statues belong to. Historians study such votive statues to gain insights into the religious beliefs, rituals, and cultural practices of the societies that created them. These statues can provide valuable information about the religious iconography, social hierarchy, and artistic techniques of the time. By examining the materials, styles, and context of these votive statues, historians can piece together a better understanding of the beliefs and practices of the past.
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The area of a circle is 225π square inches. Find the area of the sector whose central angle is 45o. Round your answer the the nearest tenth if necessary.
Rounding to the nearest tenth, the area of the sector is approximately 28.1 square inches.
To find the area of a sector, you need to know the central angle and the radius of the circle. In this case, we are given the central angle of 45 degrees, but we don't have the radius of the circle.
However, we are given the area of the entire circle, which is 225π square inches. The formula for the area of a circle is A = πr², where A represents the area and r represents the radius.
To find the radius, we can rearrange the formula to solve for r: r = √(A/π). Substituting the given area of the circle, we get r = √(225π/π) = √225 = 15 inches.
Now that we know the radius is 15 inches and the central angle is 45 degrees, we can calculate the area of the sector. The formula for the area of a sector is A = (θ/360) * πr², where θ represents the central angle and r represents the radius.
Plugging in the values, we get A = (45/360) * π * (15)² = (1/8) * π * 225 = 28.125π square inches.
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You’re interested in calculating the standard deviation of the exam scores of a national standardised test to see if many people scored close to the mean or not. Use the following dataset. Test Taker Score 1 20 2 40 3 60 4 60 5 75 6 80 7 70 8 65 9 70 10 90
The dataset provided consists of exam scores of 10 test takers. The standard deviation can be calculated to measure the spread or variability of the scores around the mean.
To calculate the standard deviation of the exam scores, follow these steps:
1. Find the mean (average) of the scores. Add up all the scores and divide the sum by the total number of scores (10 in this case). The mean is calculated as (20+40+60+60+75+80+70+65+70+90) / 10 = 65.
2. Calculate the difference between each score and the mean. Subtract the mean from each score and write down the differences: -45, -25, -5, -5, 10, 15, 5, 0, 5, 25.
3. Square each difference. Square each of the differences obtained in the previous step: 2025, 625, 25, 25, 100, 225, 25, 0, 25, 625.
4. Find the mean of the squared differences. Add up all the squared differences and divide the sum by the total number of scores. The mean of squared differences is calculated as (2025+625+25+25+100+225+25+0+25+625) / 10 = 325.
5. Take the square root of the mean of squared differences. The square root of 325 is approximately 18.03.
Therefore, the standard deviation of the exam scores is approximately 18.03. This indicates the amount of variation or dispersion in the scores around the mean value of 65.
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Define contemporary art as collaborative integrative and process oriented how do these mediums and techniques differ from tradition or moderm arts
Contemporary art is characterized by its collaborative, integrative, and process-oriented nature. These mediums and techniques differ from traditional or modern art forms in their emphasis on collaboration, integration of various disciplines, and focus on the artistic process.
Contemporary art often involves collaboration, where artists work together to create a piece or involve the audience in the creative process. This collaborative approach breaks away from the individualistic nature of traditional or modern art, where artists typically worked independently. It encourages dialogue, shared experiences, and the merging of different perspectives.
Integrative practices in contemporary art involve the blending of multiple disciplines, such as combining visual arts with technology, performance, or installation. This multidisciplinary approach allows artists to explore new possibilities and challenge traditional boundaries of art forms. It often incorporates elements from different fields like science, technology, and social activism.
Process-oriented art in the contemporary realm focuses on the artistic process itself rather than solely on the final outcome. Artists may prioritize experimentation, improvisation, and exploration of materials and techniques. This approach emphasizes the value of experimentation, personal expression, and the journey of creating art rather than adhering to predetermined rules or aesthetics.
In contrast, traditional art forms were often rooted in established techniques, materials, and subject matters, following conventional styles and rules. Modern art, while breaking away from traditional norms, still had a strong emphasis on individual expression and formal innovation, often centered around the artist's personal vision.
Overall, contemporary art's collaborative, integrative, and process-oriented nature challenges traditional and modern art forms by embracing interdisciplinary collaboration, experimentation, and focusing on the artistic process as an integral part of the artwork itself.
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12-tone composers: (mark all that apply) stressed dissonance and fragmentation avoided a tonal center favored extensive programmatic works created angular and disjointed melodies
The characteristics that were common among 12-tone composers stressed dissonance and fragmentation, avoided a tonal center, favored extensive programmatic works, and created angular and disjointed melodies. angular and disjointed melodies.
The 12-tone composition is a technique in music composition that uses a specific arrangement of the twelve chromatic pitches to create a new harmonic and melodic language that avoids traditional tonal hierarchies.
The approach was developed in the early 20th century by Arnold Schoenberg and his disciples Alban Berg and Anton Webern. The question requires identifying the characteristics that were common among 12-tone composers.
To start with, these composers emphasized dissonance and fragmentation in their works, often using unconventional harmonies that didn't resolve to traditional tonal centers.
This approach allowed them to break free from the limitations of the traditional tonal system and explore new musical possibilities.
Another hallmark of 12-tone composers was their preference for extensive programmatic works, which were often inspired by literature, art, or political events.
These works were intended to convey specific emotional or intellectual themes through music, and the 12-tone system offered a way to express complex emotions and ideas without relying on conventional musical language.
12-tone composers also tended to create angular and disjointed melodies, which were characterized by their asymmetry and irregularity.
This approach to melody was a departure from the lyrical and flowing melodies of the Romantic era, and it served to further distance 12-tone music from traditional tonal music.
In summary, 12-tone composers stressed dissonance and fragmentation, avoided a tonal center, favored extensive programmatic works, and created angular and disjointed melodies.
These characteristics were central to the development of the 12-tone system and helped to create a new musical language that continues to inspire composers today.
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Smooth value gradations can be achieved by varying the amount of pressure applied to the medium or by employing the use of a blending tool. What method is used to create this approach?
The combination of pressure variation and blending tools enables artists to create smooth value gradations, adding depth, dimension, and realism to their artwork.
The method used to create smooth value gradations in traditional art mediums, such as pencils, charcoal, or pastels, typically involves a combination of techniques. One commonly used approach is to vary the amount of pressure applied to the medium. By exerting more pressure, artists can create darker and more intense tones, while lighter pressure results in softer and lighter shades. This technique allows for a gradual transition between different values, resulting in smooth gradations.
Another method employed to achieve smooth value gradations is the use of a blending tool. Blending tools, such as blending stumps, tortillons, or even fingers, are used to gently smudge and merge the colors or tones together. By carefully blending adjacent areas, artists can create seamless transitions between different values, thereby achieving smooth gradations.
Both the pressure variation and blending techniques require skill and practice to master. Artists often experiment with different levels of pressure, strokes, and blending tools to achieve the desired effects in their artwork. Additionally, the choice of medium itself, such as soft or hard pencils, can also impact the ease of creating smooth gradations.
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applying deeper tones along the hairline, temples and under the chin can be used to visually shorten this facial shape:
Applying deeper tones along the hairline, temples, and under the chin can be used to visually shorten an oblong facial shape.
An oblong face shape is characterized by a longer and narrower shape, with a high forehead, long jawline, and often a prominent chin.
The use of contouring techniques to add deeper tones to specific areas of the face can create a more balanced and proportionate appearance. By applying deeper tones along the hairline and temples, the forehead can appear shorter and less prominent, which can help to balance out the length of the face.
Similarly, by applying deeper tones underneath the chin, the jawline can appear less elongated, creating the illusion of a shorter face.
As with any makeup technique, it's important to blend the deeper tones seamlessly to avoid any harsh lines and ensure a natural-looking result. It's also worth noting that makeup is a temporary solution and does not permanently alter facial shape.
For individuals looking for a more permanent solution, there are various surgical and non-surgical options available to alter facial shape, such as jawline reduction surgery or dermal fillers.
However, it's important to thoroughly research and consult with a qualified professional before considering any permanent alterations to facial shape.
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ART has come out with a new and improved product. As a result, the firm projects an ROE of 28%, and it will maintain a plowback ratio of 0.25. Its earnings this year will be $5.0 per share. Investors expect a 17% rate of return on the stock. What price do you expect ART shares to sell for in 4 years?
The price you can expect ART shares to sell in 4 years is $50.62.
To calculate the expected price of ART shares in 4 years, we can use the dividend discount model formula:
P0 = (D1 / (r - g))
where P0 is the present stock price, D1 is the next year's dividend, r is the required rate of return, and g is the growth rate of dividends.
1. First, let's find the growth rate (g):
g = ROE * Plowback Ratio = 0.28 * 0.25 = 0.07 (7%)
2. Next, calculate the next year's dividend (D1):
D1 = Earnings per Share * (1 - Plowback Ratio) = $5 * (1 - 0.25) = $3.75
3. Now, apply the dividend discount model formula:
P0 = ($3.75 / (0.17 - 0.07)) = $37.50
To find the expected price in 4 years (P4), we can use the formula:
P4 = P0 * (1 + g)^4
P4 = $37.50 * (1 + 0.07)^4 = $50.62
So, you can expect ART shares to sell for approximately $50.62 in 4 years.
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How does Copley's portrait of Paul Revere differ from contemporary British and continental portraits?
Copley's portrait of Paul Revere differs from contemporary British and continental portraits in its style, composition, and depiction of the subject.
Copley's portrait of Paul Revere stands out from contemporary British and continental portraits in several ways. Firstly, the style of Copley's portrait leans towards realism and naturalism, while many British and continental portraits of the time were more formal and idealized. Copley's attention to detail and the meticulous rendering of Revere's facial features and clothing give the portrait a lifelike quality.
Secondly, the composition of the portrait is distinctive. Copley portrays Revere in a three-quarter view, presenting him in a dynamic pose with a sense of movement and action. This departure from the traditional static and formal poses commonly found in contemporary portraits adds a sense of vibrancy and individuality to Copley's work.
Lastly, the depiction of the subject, Paul Revere, also sets Copley's portrait apart. Revere is portrayed as a working-class artisan, wearing his apron and holding a teapot, highlighting his occupation as a silversmith. This emphasis on Revere's trade and the representation of a common man was not a common feature in the aristocratic and formal portraits of the time, which often portrayed subjects in luxurious attire or in positions of power.
Overall, Copley's portrait of Paul Revere stands out from contemporary British and continental portraits due to its realistic style, dynamic composition, and emphasis on the subject's occupation and social status.
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when working with color, it is generally a good idea to create a color splash in your visual. rainbow colors help your audience to notice the visual.
The given statement "When working with color, it is generally a good idea to create a color splash in your visual. Rainbow colors help your audience to notice the visual." is true corporating a color splash or using vibrant colors, such as those found in a rainbow, can make a visual stand out and capture the attention of your audience.
When working with color, it is generally a good idea to create a color splash in your visual. Rainbow colors help your audience to notice the visual. This statement can be considered both true and false, depending on the context and design principles.
It is true that incorporating a color splash or using vibrant colors, such as those found in a rainbow, can make a visual stand out and capture the attention of your audience. However, it is important to use colors strategically, ensuring they complement the content and overall design, rather than becoming a distraction.
On the other hand, the statement can also be seen as false, as overusing rainbow colors or including too many contrasting colors in your visual might make the design appear chaotic or overwhelming. It is essential to carefully consider color theory and design principles when choosing colors for your visual. Utilizing a limited color palette or focusing on complementary colors can help create a more cohesive and professional-looking design.
In summary, while using a color splash or rainbow colors might initially grab the attention of your audience, it is crucial to strike a balance between visual interest and maintaining a clear and organized presentation. Overusing these elements may detract from the overall effectiveness of the visual and hinder communication.
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Complete question:
When working with color, it is generally a good idea to create a color splash in your visual. Rainbow colors help your audience to notice the visual.
True or False?
schubert wrote compositions in every musical genre except which one?
Answer:
Schubert did not write any operas. While he did write vocal music such as lieder, choral music, and incidental music for theater, he never composed a full-length opera.
EARTHSC 2GG3. Course Title. Natural Disasters. Instructor. M. Padden. Term. Fall 2021. Outline. Outline. Course Code. EARTHSC 2GG3. Course Title.
The course "Natural Disasters" (EARTHSC 2GG3) was taught by instructor M. Padden during the Fall 2021 term. It focused on studying the occurrence, causes, and impacts of various natural disasters.
The course "Natural Disasters" (EARTHSC 2GG3) was offered during the Fall 2021 term and instructed by M. Padden. This course aimed to provide students with an in-depth understanding of natural disasters, including their occurrence, causes, and the impact they have on the environment and human populations.
Throughout the course, students likely explored a range of topics related to natural disasters, such as earthquakes, hurricanes, floods, wildfires, and volcanic eruptions. They may have examined the geological processes behind these events, including plate tectonics, climate patterns, and weather phenomena.
In addition, the course may have covered the social, economic, and environmental consequences of natural disasters, including their effects on infrastructure, communities, and ecosystems. Students might have also studied disaster management strategies, including prevention, mitigation, and response measures.
Overall, the course "Natural Disasters" provided students with a comprehensive understanding of the science and impact of natural disasters, equipping them with knowledge to analyze and address these significant events.
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A musician hits a drum with a drumstick. in three to four sentences, explain the collision forces between the drum and drumstick.
When a musician hits a drum with a drumstick, a collision occurs between: the two objects.
During this collision, there are several forces that come into play. The first force is the impact force, which is the force applied by the drumstick onto the drum's surface. This force causes the drumhead to vibrate, producing sound waves that we hear. Additionally, there is a force of friction between the drumstick and the drumhead, which affects the stick's ability to bounce back after striking the drum.
Finally, there is also a force of compression, which occurs when the drumhead is pushed downwards due to the impact force. These forces are essential in producing the sound that we associate with drums and are essential to a musician's ability to play the instrument effectively.
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how does haydn signal the start of the variation on theme b in the third movement of his trumpet concerto in e flat major?
In the third movement of Haydn's Trumpet Concerto in E flat major, he signals the start of the variation on theme b by introducing a new melody that is distinctly different from the previous one. This melody is played by the orchestra in unison, with a lively and energetic tempo that sets the stage for the variation to come.
Additionally, Haydn uses a number of other techniques to signal the start of this variation. For example, he changes the key of the piece from E flat major to C minor, which creates a sense of tension and anticipation. He also introduces new instrumentation, such as the use of the bassoon, which adds a rich and complex texture to the music.Another way that Haydn signals the start of the variation on theme b is through the use of dynamics.
He gradually increases the volume of the music, building up to a crescendo that signals the arrival of the new melody. This creates a sense of excitement and anticipation, drawing the listener in and preparing them for the variation to come.Overall, Haydn employs a variety of musical techniques to signal the start of the variation on theme b in the third movement of his Trumpet Concerto in E flat major.These techniques include changes in melody, key, instrumentation, and dynamics, all of which work together to create a sense of excitement and anticipation as the music unfolds.
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Haydn signals the start of the variation on theme B in the third movement of his Trumpet Concerto in E-flat major by using a change in orchestration, rhythmic alteration, and melodic development.
First, Haydn changes the orchestration, which is the way instruments are used in the music. The trumpet takes a more prominent role, playing the melody while the rest of the orchestra provides accompaniment. This shift in instrumental focus draws attention to the new theme.
Second, Haydn employs rhythmic alteration to introduce variation on theme B. Rhythmic alteration means changing the note values or adding rhythmic embellishments to the original theme. Haydn modifies the rhythm of theme B to create a sense of contrast and development from the previous theme. This rhythmic transformation also helps to emphasize the beginning of the new variation.
Lastly, Haydn incorporates melodic development in the variation on theme B. Melodic development is the process of expanding, transforming, or reworking an existing melody. In this case, Haydn takes theme B and introduces new melodic ideas, further enhancing the sense of change and progression in the music. This melodic development helps to distinguish the variation on theme B from the original theme and signals the start of this new section in the third movement of the Trumpet Concerto in E-flat major.
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A group of people sitting at a table in a dark room with a window. Their faces are looking toward the light coming from the window.
How has the artist used light to create a desired affect in this piece? What do you hypothesize the source of the light to be and why?
In this artwork, the artist skillfully uses light to create a desired effect of contrast and focus.
How has the artist used light to create a desired affect in this piece?The group of people sitting at a table in a dark room are positioned in such a way that their faces are directed towards the light coming from the window. This deliberate arrangement creates a striking contrast between light and shadow, drawing attention to the individuals' faces and emphasizing their connection to the source of light.
The artist leaves the source of light ambiguous, allowing viewers to speculate and project their own interpretations onto the artwork. It can be hypothesized that the light symbolizes something significant or symbolic, such as hope, knowledge, or enlightenment, as it illuminates the people and influences their expressions and thoughts. Overall, the artist effectively utilizes light to evoke a sense of depth and meaning in the composition.
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musical interval that will result when two strings of identical wave speed but different specified lengths are sounded together.
The musical interval that will result when two strings of identical wave speed but different specified lengths are sounded together is known as an interval of harmonic consonance.
This interval is created by the different wave lengths of the two strings. When the two strings are played together, the longer string will vibrate at a slower rate than the shorter string, resulting in an interval of harmonic dissonance. This is because the wave length of the longer string is longer than the wave length of the shorter string, and therefore the two wave lengths do not match up perfectly.
This creates an interval of harmonic dissonance between the two strings, resulting in a unique sounding musical interval. This interval of harmonic dissonance can be used to create interesting and unique musical compositions.
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complete question is :
musical interval that will result when two strings of identical wave speed but different specified lengths are sounded together. explain.
Select the genres most used by impressionist composers,Tone poemSymphony Characterpiece for pianoAll of the above
Impressionist composers are tone poem, symphony, and character piece for piano. Option D
A tone poem is a single-movement orchestral piece that tells a story or describes a scene. It is a form of program music that aims to evoke a particular mood or atmosphere.
Impressionist composers such as Claude Debussy and Maurice Ravel were masters of the tone poem, using it to create vivid musical pictures of nature, mythology, and other subjects
Symphony is another genre that was popular among impressionist composers. Although they did not adhere strictly to the traditional symphonic form, they often used the symphony orchestra to create complex and nuanced soundscapes that reflected their impressionistic style.
Finally, character piece for piano was a genre that allowed impressionist composers to explore the expressive possibilities of the piano. These short pieces were often highly personal and evocative, with titles that suggested the mood or character of the music.
Impressionist composers such as Erik Satie and Gabriel Faure were particularly adept at this genre, creating some of the most memorable and influential character pieces of the era.
In short, impressionist composers used a variety of genres to express their unique musical vision, including tone poem, symphony, and character piece for piano.
These genres allowed them to explore new musical territories and create works that were both innovative and deeply expressive. So Option D is correct.
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The correct answer is option 4 " All of the above". The genres most used by Impressionist composers include the tone poem, symphony, and character piece for piano. These genres allowed them to express their creative visions and experiment with new musical techniques.
Impressionist composers, who emerged primarily in the late 19th and early 20th centuries, experimented with various genres in order to capture their innovative musical ideas. Among these genres, the tone poem, symphony, and character piece for piano were particularly prominent.
The tone poem is an orchestral work that tells a story or paints a picture through music, often inspired by literature or visual art. Impressionist composers, such as Claude Debussy and Maurice Ravel, employed this genre to evoke vivid imagery and create evocative soundscapes.
The symphony, a multi-movement work for an orchestra, was also explored by Impressionist composers. While they retained the traditional structure, they often introduced unconventional harmonies and orchestration techniques to create unique textures and atmospheres.
Lastly, the character piece for piano was another popular genre among Impressionist composers. These short, expressive pieces were designed to convey a specific mood or idea. Composers like Debussy and Erik Satie wrote numerous character pieces, showcasing the innovative use of harmony, rhythm, and dynamics in their piano writing.
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1. What is constructive criticism?
2. What is cool feedback?
3. What is warm feedback?
4. Two Positive Examples of Cool Feedback to give to an actor.
__ 5. Two Examples of warm feedback to give to an actor.
__ 6. Why criticism is essential to the developing actor?
__ 7. What is a good practice to keep in mind when receiving criticism during a critique?
__ 8. Critique an actor in a film by offering positive cool feedback and warm feedback.
Answer: 1. constructive criticism is a type of feedback that offers advice to help employees, it helps employees to improve
2. cool feedback is not a criticism it actually to think from a different perspective
3. warm feedback is a positive statement about anything
Explanation:
i hope this helps you :)