Bartok was inspired by Stravinsky’s work to put a more traditional and often Baroque forms in pieces of his “middle period” such as Cantata Profana and Music for Strings, Percussion, and Celesta. <span>Stravinsky’s influence waned after the rise of postwar serialism. Messiaen used techniques that were clearly Stravinsky-like, though, such as melodic fragments of different metrical lengths repeating themselves and intersecting in different ways.</span>
The answer is all of the above
Answer:
his print is a Yoko-e, that is, a landscape format produced to the ōban size, about 25 cm (10 in) high by 37 cm (15 in) wide.[10]
The composition comprises three main elements: the sea whipped up by a storm, three boats and a mountain. It includes the signature in the upper left-hand corner.
Explanation:
The mountain with a snow-capped peak is Mount Fuji, which in Japan is considered sacred and a symbol of national identity,[11] as well as a symbol of beauty.[12] Mount Fuji is an iconic figure in many Japanese representations of famous places (meisho-e), as is the case in Hokusai's series of Thirty-six Views of Mount Fuji, which opens with the present scene.
The dark color around Mount Fuji seems to indicate that the scene occurs early in the morning, with the sun rising from behind the observer, illuminating the mountain's snowy peak. While cumulonimbus storm clouds seem to be hanging in the sky between the viewer and Mount Fuji, no rain is to be seen either in the foreground scene or on Mount Fuji, which itself appears completely cloudless
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