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the upper part of the nave, choir, and transepts of a large church, containing a series of windows. It is clear of the roofs of the aisles and admits light to the central parts of the building.
the windows in the clerestory of a church or similar windows in another building.
a raised section of roof running down the center of a railroad car, with small windows or ventilators
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The Institution Theater. July, 1964 – Tom Booker is born into this world, specifically Tulsa, Oklahoma
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There are different kinds of Baroque art. The painting that would best illustrate all of these techniques is The Massacre of the Innocents by Peter Paul Rubens.
<h3>The Massacre of the Innocents </h3>
- The chiaroscuro technique is known to be very visible in this painting. The Massacre of the Innocents was a painting by Peter Paul Rubens.
In the painting, there an interplay that exist between light and dark. The technique used in paintings consist of small lit scenes to create a very high-contrast, dramatic atmosphere.
Some of the qualities mostly linked with the of Baroque are are grandeur, richness, drama, etc.
Learn more about Baroque art from
brainly.com/question/25877704
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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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Finally Free from Julie and the phantoms!
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