The main goal of civic education can be considered as the formation of civil qualities on the basis of new knowledge, skills and values that help individuals to solve emerging problems, adapt to changing socio-economic and political conditions, represent and protect their rights and interests
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in the past, young artists would study with a master artist to learn from him. They would copy his art in an attempt to gain his skill and wisdom and he was right there guiding them. Art historians are often able to identify these copies, but not always. As a result, there’s sometimes the risk that a collector will purchase an art piece attributed to a master when it was, in fact, his student’s work.
Answer:
Between his first recording session in 1944 and his death in 1991, Miles Davis changed the course of music many times. The first of these came with the short-lived lineups he assembled for a New York residency and three studio sessions between January 1949 and March 1950. The nine-piece lineup was unusual – few jazz bands used a French horn – and the gigs attracted little attention. The sessions produced a handful of singles for Capitol Records, later collected as an album called Birth of the Cool – these ensured the band’s shadow would prove longer than all but a handful of its contemporaries.
The recordings were the result of hanging out after hours at arranger Gil Evans’s basement flat. The punchy, brightly coloured Venus de Milo was one of three tracks the group recorded that was composed by saxophonist Gerry Mulligan. The epithet “cool” isn’t entirely helpful, suggesting a prizing of style over substance: this music is never aloof or detached. Rather, this is what you got when you tuned down the frenzy of Charlie Parker and Dizzy Gillespie and allied it to the kind of sophisticated big-band arrangements Duke Ellington pioneered. Davis was a fan – and a part – of both traditions: not for the first time, what he crafted was a fusion of preceding forms that changed what would follow.
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