<em>hi</em><em>!</em><em> </em><em>im</em><em> </em><em>chimken</em><em> </em><em>and</em><em> </em><em>i</em><em> </em><em>have</em><em> </em><em>your</em><em> </em><em>answers</em><em>!</em><em> </em>
answer: :)
<em>hehe</em><em>!</em><em> </em><em>^</em><em>^</em>
<span> "Chopin both begins and ends with a statement about Louise Mallard's heart trouble, which turns out to have both a physical and a mental component. In the first paragraph of "The Story of an Hour," Chopin uses the term "heart trouble" primarily in a medical sense, but over the course of the story, Mrs. Mallard's presumed frailty seems to be largely a result of psychological repression rather than truly physiological factors. The story concludes by attributing Mrs. Mallard's death to heart disease, where heart disease is "the joy that kills." This last phrase is purposefully ironic, as Louise must have felt both joy and extreme disappointment at Brently's return, regaining her husband and all of the loss of freedom her marriage entails. The line establishes that Louise's heart condition is more of a metaphor for her emotional state than a medical reality."</span>
Instrumental music throughout the Renaissance was closely associated with vocal music. Only at the Sistine Chapel in Rome, and at a few other chapels with choirs of competent singers, was polyphonic church music consistently sung unaccompanied. Elsewhere the organ, lute, viols, or other instruments accompanied, doubled, or substituted for voices, and organists developed a huge repertory of music for use in church services, including preludes, interludes, and arrangements of liturgical melodies. In secular music, the lute remained popular both for solos and in ensembles; clavier instruments were coming into wider use, and hundreds of pieces were written for chamber music ensembles.
Answer:
false
Explanation:
it was the inspiration behind classical architecture
