Alot of cultural things helped develope jazz especcially in new orleans where i recently was. most of the things that influenced jazz where the spirits of the people, wether sad or happy they always used jazz to show their spirits. but more things than feelings made jazz. you see jazz started around the time the french had gone into luisianna(sorry its spelled wrong) after they did the spanish forced their way into the new state and made everyone obey their rules. even though they followed those rules they still kept almost everything french made and french run but eventually people started mixing the instruments from spain and the instruments from france and learned how harmonic they sounded together eventually songs were made and the era of swing and jazz started not sure if i answered your question the way you wanted but hope this helps
Answer:
Tempera is traditionally created by hand-grinding dry powdered pigments into a binding agent or medium, such as egg yolk, milk (in the form of casein) and a variety of plant gums.
Explanation:
Answer: cordanates
Explanation: HOW LONG U PLAY B AND ON TO C
Martin Luther had great impact on the worship and musical life of early Lutheranism. He was an accomplished musician, a singer, a lute player, and one who knew much of the music and many of the musicians of his day. He wrote to support the adequate funding of church music, the musical education of children in the schools, and the musical education of pastors and teachers. He wrote new hymns as well as "corrected and improved" older hymns. He composed at least one short polyphonic motet, "Non moriar sed vivam" ("I shall not die, but live"). When it came to worship and the liturgy, he continued the basic pattern and tradition of the medieval Mass with two exceptions. He deleted the Canon of the Mass and the prayers at the Offertory. Luther's basic approach was to retain whatever past traditions were not contrary to his understand of the Gospel. Luther advocated certain new reforms that included the use of vernacular congregational song as an integral part of the liturgy, the importance of the sermon, and communion in both kinds. Throughout all his liturgical and musical reforms, Luther always sought to demonstrate the continuity and unity of the reforming movement with the church catholic. The Reformation was born when Renaissance polyphony was the prevailing musical style. It is exemplified in the music of Dufay and Binchois and culminated in the music of Heinrich Isaac and the renowned Josquin Desprez. This style was characterized by imitative pholyphony. It usually was based on the foundation of Gregorianmelodies normally found in the tenor part. This musical style, with words associated with melodies, reflected Luther's understanding that the Word of the Gospel was to be presented simply and preoclaimed musically in an objective fashion and not to be "interpreted" <u>Carl Shalk</u>The turbulent days of the church of the early Reformation and its dire struggle with the Roman Catholic church were past. The Reformation made worshipers aware of the "Priesthood of All Believers." In the 17th century, people in the Lutheran congregations continued to participate actively in worship. More congregations now had printed hymnals. Composers wrote music that built upon the old traditions, but also incorporated the new styles that were emerging. Settings of Gospel motets gave people the opportunity to conitinue to hear the Word in traditional polyphonic settings called the "first practice." Instruments and voices of the choir and congregation joined in stimulating settings of chorales. Congregations often sang stanzas in alternation with choral and instrumenal stanzas. Magnificent polychoral settings of chorales and Psalms were written for several choirs of voices and instruments. The organ continued to introduce congregational and liturgical song. The chorale prelude grew in importance as a vehicle to introduce chorale singing. As time passed, organs began to accompany congregational song. Under the influence of developments in the madrigal and opera, concerted music of the "second practice" became a part of church music. The basso continuo and monody were adapted to compositions for worship. The organ and instruments assumed new roles in concerted writing. Choral music and congregational song changed, reflecting a new emphasis on personal peity and the expressive capability of concerted music. Four masters of Lutheran church music provided leadership for a growing and vigorous practice. early in the century, Michael Praetorius wrote splendid chorale arrangements and polychoral settings for voices and instruments. Johann Hermann Schein wrote in the old polyphonic style, but also developed the scared madrigal in the concerted style. Samuel Scheidt was the first great Lutheran organist and composer. Heinrich Schütz, the most renowned composer of his time, contributed masterworks in all styles of sacred vocal music.Carlos Messerli The 18th Century... This was an age of uneven support and recognition for
Answer:
forms with no projecting parts that could break
Explanation:
Egyptian statues and art in general were very strict in design. They had the right postures that did not express emotion or movement. They were realistic in body proportions, but the pharaohs were presented as larger than the common people. This way it could be determined who has a higher standing in society.
Egyptian art was present in the tombs as part of their elaborated death rituals. <u>Many of the sculptures presented there were reliefs or attacked to the background, and if they were freestanding they were done in the colossal fashion, so no part sticks out.</u> <u>Part of this was probably the fact that tomb raids were frequent and sculptures served the purpose to guide and benefit the deceased.</u><u> </u>Egyptians wanted them to preserve to help the person in the afterlife, so they made them as permanent as possible.
