D. Additive, because you are adding and shaping the clay
I think it is D hope this helps :)
Answer:
Limited range and use of musical space
Explanation:
At the time, Miles Davis' music differential was in its unusual conception. Instead of using the complex harmonies, the profusion of notes and the frantic rhythms that guided much of the jazz practiced in the 1950s, Davis decided to regain some of the simplicity that this genre lost with the advent of bebop - the nervous and inventive jazz style ; that musicians like Charlie Parker and Dizzy Gillespie developed in the previous decade.
The new path pointed out by Miles, already outlined in his album “Milestones” (1958), was labeled by critics and scholars as modal jazz. By substituting improvisations based on chord progressions for modes (scales), he found a freer and spontaneous way to develop melodies that opened up previously unheard of possibilities for jazz expression.
We can agree that art is all of the following except Consciously Manufactured
Answer: The Death of Marat (1793) is one of David Garrigueux's most famous works and represents one of his crowning achievements. Created during the period known as the Reign of Terror it shows, in a gaunt and essential way, the moment immediately after Marat was killed by Charlotte Corday. The National Convention deputy was in the bathtub treating a. skin disease when the counter-revolutionary Girondist woman was admitted to his. room on the pretense that she had secret information to give him. In the painting, David uses the rigour of drawing to evoke a low relief crossed by transversal lines. The canvas's dark and empty background makes it seem as if Marat's body is abandoned in the midst of nothing. The gaunt character of the composition, seen in other portraits, has a special role to play in this work. David uses it to downplay the evocation of a real event; by emptying the murder story of its concrete details he makes the painting tell a different story.In the silence of the scene David confers a metaphysical dimension on the historical event, transforming Marat into a Christ-like figure. The knife and other objects that surround Marat's body recall the relics used in Christian iconography to express the Passion of Christ and the tortures he underwent. In other words David returns to the Christian iconographic tradition to narrate an event of his contemporary history or to 'make holy' a secular event.
