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What type of paint are you using
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Bebop or bop is a style of jazz developed in the early-to-mid-1940s in the United States. The style features compositions characterized by a fast tempo, complex chord progressions with rapid chord changes and numerous changes of key, instrumental virtuosity, and improvisation based on a combination of harmonic structure, the use of scales and occasional references to the melody.
Bebop developed as the younger generation of jazz musicians expanded the creative possibilities of jazz beyond the popular, dance-oriented swing music-style with a new "musician's music" that was not as danceable and demanded close listening.[1] As bebop was not intended for dancing, it enabled the musicians to play at faster tempos. Bebop musicians explored advanced harmonies, complex syncopation, altered chords, extended chords, chord substitutions, asymmetrical phrasing, and intricate melodies. Bebop groups used rhythm sections in a way that expanded their role. Whereas the key ensemble of the swing music era was the big band of up to fourteen pieces playing in an ensemble-based style, the classic bebop group was a small combo that consisted of saxophone (alto or tenor), trumpet, piano, guitar, double bass, and drums playing music in which the ensemble played a supportive role for soloists. Rather than play heavily arranged music, bebop musicians typically played the melody of a composition (called the "head") with the accompaniment of the rhythm section, followed by a section in which each of the performers improvised a solo, then returned to the melody at the end of the composition.
Some of the most influential bebop artists, who were typically composer-performers, are: alto sax player Charlie Parker; tenor sax players Dexter Gordon, Sonny Rollins, and James Moody; clarinet player Buddy DeFranco; trumpeters Fats Navarro, Clifford Brown, Miles Davis, and Dizzy Gillespie; pianists Bud Powell and Thelonious Monk; electric guitarist Charlie Christian; and drummers Kenny Clarke, Max Roach, and Art Blakey.
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This meditation on transitory art begins with Sol LeWitt. His
conceptual art is representative of a large strain of creative endeavors that emerged after 1950. To this day it engages artists, gallerists, collectors, and museum curators worldwide. "Ownership" of
his art was not always evidenced by possession of a physical object
like a painting or a sculpture, but by possession of documents-a
certificate of authenticity and a diagram in the case of LeWitt. Together these documents contained (typically partial) instructions on
how to fabricate or install his work. Possession of a certificate and
diagram gave their owner a guarantee of provenance and the authority to arrange for installation of the work with the artist or the
artist's successors in interest-nothing more.' In addition, the actual installations of such works typically were not accomplished by the artists who made the certificates and diagrams, the artists as temporary, movable, or destructible after their installation. Such projects were distinctly different from routine art sales by galleries or auction houses. Rather than obtaining a painting or
sculpture, a buyer obtained only the right to seek its creation and
installation. It was the creative plan that was the artistic product,
not an extant creative work.
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Vivaldi composed the four seasons, hope this helped <3
