Hi
<em>What ingredient should he change? </em>
Answer:
<em>- Butter to Margarine</em>
Paul Klee derived his contrapuntal procedures of drawing and painting from the "theory and practice of eighteenth-century polyphony." There is Klee's avowed preference for the music of eighteenth-century Viennese Classical composers and his application of late eighteenth-century musical terminology and techniques to pictorial art.
<h3>The relationship between what Webern and Klee created</h3>
Comparing Webern’s ideas with Klee’s doctrine of forms, very closepath of thoughts can be found. Klee understands the musical structure of the pictorial as linear active polyphony. His goal is to make visible the multidi-mensional simultaneity of the lines of visibility, drawing the drawing of lines, making visible the gerundive structure of the becoming visible. Polyphonic painting is for him “superior” because it makes visible at once, in the instant of a flash, what in music appears serially and sequentially.
Webern is also unfolding polyphony and creating another musical meaning of polyphony, by means of making audible in each sound its harmonic series, making audible in-between sounds and gerundive structure or meanwhileness of the is-sounding. Webern aims to make audible how the flash is itself a polyphony of sounds.
<h3>The difference</h3>
Klee reduces, in the phenomenological sense of this term, linearity to the drawing of the drawing of lines. Webern reduces sequential time to the in-between sounds of a series contracted in each sound. In Klee, the focus is about making visible the making visible as such. In Webern, everything is about making audible the making audible, that is, the sounds of sounding. In both, the claim for a polyphonic thought is the one for revealing the sketch-like, gerundive structure of the appearing as such, that can only appear when appearances, forms, tonalities dis-appear, becoming while in dissolution, showing the absenting way sound and colors become present as thoughts of the eyes and of the ears.
learn more about Klee and Webern: brainly.com/question/5871754
Answer:
The metaphor she uses is an instrument and it is effective
Explanation:
When talking about the voice, Sara Bernhardt uses the metaphor of the <u>instrument</u>.
The metaphor is <u>accurate </u>because singing voice must be practiced just like an instrument. <u>To sing well, one must learn how to do so, </u>how to read the notes, control the voice, and take care of it. They should not do anything to harm the voice, and<u> they need to practice before the performance, which might remind us of the tuning of the instrument. </u>
A metaphor like this is <u>effective</u>, as it provides a wide array of meaning explaining what voice is to the performer, how they should use it, and what it means to sing along to the music. It is especially good because she uses metaphor which is in the same theme – the music – so it can be easily understood what she means and wishes to say.
Answer:
The birth of venus
Explanation:
painted by Sandro Botticelli
Part A: A
Not sure about rest