Answer:
I believe that it's 29.4
Explanation:
This question is similar to another one I've seen
One of the most famous examples of a Benin mask is known as Idia. From what material is the mask made is ivory. The pupils and rims of her eyes, as well as the marks on her forehead, were all made of iron.
<h3>What does the Benin Iyoba mask represent?</h3>
The pendant mask is thought to have been made for the King or ObaEsigie, the king of Benin, in the early sixteenth century to honor his mother, Idia.
The oba may have worn it for rites honoring his mother, despite the fact that such pendants are traditionally worn during annual spiritual renewal and cleansing practices.
Thus, c is the correct option.
For more details about Benin Iyoba, click here
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"It is a depiction of the Second Coming of Christ and the final and eternal judgment by God of all humanity. The souls of humans rise and descend to their fates, as judged by Christ surrounded by prominent saints including Saints Catherine of Alexandria, Peter, Lawrence, Bartholomew, Paul, Simon Peter, Sebastian, John the Baptist, and others"
The correct answer is A. Hector Berlioz.
He envisioned his <em>Requiem </em>to have a huge orchestra of woodwind and brass instruments, 210 singers, and it would last for about 90 minutes. It was created in honor of the soldiers who died during the July Revolution in France in 1830.
Answer:
Limited range and use of musical space
Explanation:
At the time, Miles Davis' music differential was in its unusual conception. Instead of using the complex harmonies, the profusion of notes and the frantic rhythms that guided much of the jazz practiced in the 1950s, Davis decided to regain some of the simplicity that this genre lost with the advent of bebop - the nervous and inventive jazz style ; that musicians like Charlie Parker and Dizzy Gillespie developed in the previous decade.
The new path pointed out by Miles, already outlined in his album “Milestones” (1958), was labeled by critics and scholars as modal jazz. By substituting improvisations based on chord progressions for modes (scales), he found a freer and spontaneous way to develop melodies that opened up previously unheard of possibilities for jazz expression.
