The answer is A. Please mark as brainliest! :) Have a blessed day!
Answer:
Yes if you memorize by looking that way you can learn where each key is and when you do you will no longer need to look you will just know
Explanation:
Explanation:
Vincent van Gogh (Dutch, 1853-1890), The Poplars at Saint-Rémy, 1889. Oil on fabric, 24¼ x 17 15/16 in. The Cleveland Museum of Art; Bequest of Leonard C. Hanna, Jr., 1958.32
A recent trip to south Florida occasioned what has become a routine sojourn for me, a stopover at the Norton Museum of Art.
At the Norton, van Gogh’s The Poplars at Saint-Rémy is overwhelmed twice, first by its ornate antique frame, then by its installation on the third floor. Softly lit, it inhabits its own grey-painted gallery, a pearl in an oversized jewel box. It doesn’t help that the landscape’s colors are relatively sedate for a late van Gogh, relying on white to suggest terrain bleached by sunlight. The central two poplars are enclosed within a diamond-shaped design circumscribed by skyline above and crossing diagonals of rock-strewn land below. It is an inherently unstable composition, harmonized by color, the blue sky repeated in ground plane shadows and the blanched earth tones picked up in clouds. There is perhaps no way to write about van Gogh’s brushwork, idiosyncratic and instantly recognizable, without resorting to banalities; suffice to say that his sense of urgency demanded an entirely novel handling of paint. The Poplars at Saint-Rémy was made in a single session, a feat of compressed intensity.
Sharing a gallery with two other works by the artist, Degas’s Portrait of Mlle. Hortense Valpinçon resides more comfortably in its ground floor setting. The story of its production is no less remarkable than that of the van Gogh; leaving Paris during the barricades of 1871, Degas arrived at the Valpinçon country home without a canvas, and apprehended some mattress ticking upon which to paint his friend’s nine-year-old daughter. She leans into a sideboard and surveys us with unusual self-possession for one so young, holding in her right hand what has been variously described as a slice of fruit or a coin.
hope it helps
Answer:
1. an elaborate musical composition for full orchestra, typically in four movements, at least one of which is traditionally in sonata form.
2. a composition for an instrumental soloist, often with a piano accompaniment, typically in several movements with one or more in sonata form.
3. the concluding passage of a piece or movement, typically forming an addition to the basic structure.
4. exposition, development, and recapitulation
4a. exposition- the initial presentation of the thematic material of a musical composition, movement, or section. The use of the term generally implies that the material will be developed or varied.
4b. development- musical development is a process by which a musical idea is communicated in the course of a composition. ... In sonata form, the middle section (between the exposition and the recapitulation) is called the development. Typically, in this section, material from the exposition section is developed.
4c. he recapitulation is one of the sections of a movement written in sonata form. The recapitulation occurs after the movement's development section, and typically presents once more the musical themes from the movement's exposition.
there's the first 4 answered :)
