Answer: "i"
Explanation:
The answer is the letter "I"
not in earth,moon,sun and sky
But its there in mornIng.. EvenIng
And not in noon :) and its midway suspended in " aIr"
Very interesting question :)
Two characteristic of Action
- spectacular or physical action.
- Tells a narrative view on fights, chases, etc.
Musicals are:
- They are catchy in nature and in their music style.
- They are solo songs, duets, choruses and others.
<h3>What is the difference between both?</h3>
Note hat action have your adrenaline pumping but musicals have you singing and relaxing.
Note that an action film is said to be a film with that is known to have fast-moving plot and do have scenes of violence.
Learn more about Action from
brainly.com/question/1718605
#SPJ1
Answer:
Well to be perfectly honest, in my humble opinion, of course without offending anyone who thinks differently from my point of view, but also by looking into this matter into a different perspective and without being condemning of one's view's and by trying to make it objectified, and by considering each and every one's valid opinion, I honestly believe that I completely forgot what I was going to say.
Explanation:
yes
Answer:
Between his first recording session in 1944 and his death in 1991, Miles Davis changed the course of music many times. The first of these came with the short-lived lineups he assembled for a New York residency and three studio sessions between January 1949 and March 1950. The nine-piece lineup was unusual – few jazz bands used a French horn – and the gigs attracted little attention. The sessions produced a handful of singles for Capitol Records, later collected as an album called Birth of the Cool – these ensured the band’s shadow would prove longer than all but a handful of its contemporaries.
The recordings were the result of hanging out after hours at arranger Gil Evans’s basement flat. The punchy, brightly coloured Venus de Milo was one of three tracks the group recorded that was composed by saxophonist Gerry Mulligan. The epithet “cool” isn’t entirely helpful, suggesting a prizing of style over substance: this music is never aloof or detached. Rather, this is what you got when you tuned down the frenzy of Charlie Parker and Dizzy Gillespie and allied it to the kind of sophisticated big-band arrangements Duke Ellington pioneered. Davis was a fan – and a part – of both traditions: not for the first time, what he crafted was a fusion of preceding forms that changed what would follow.
Explanation:
