Answer:
more advanced synthesizing ?
Explanation:
Answer:
Hawaiian Feather Helmet
i) symbol of highest rank reserved for men of te chiefly class of Hawaii
ii) They are made from woven frame structure made from plant Freycinetia arborea and decorated with bird feathers. They use featherwork art techniques
iii) they are important to achieve feathering
Hoa Hakananai's Easter Island Statue
i) Hoa Hakananai's Easter Island Statue is carved similar to petroglyphs
ii) it was used for birdman ceremony. In Easter Island it was placed at southwestern tip of island
iii) carvings were added to its back
Bird-Shaped Pestle
i) Art of sculpture has been used. Pestle discusses the evolutionay tricks used by humans to spread into hostile environment
ii) it was used by farmers to grind the vegetable taro in mortar. It was decorated as it may have been a festive object
iii) It was used by farmers. It tells us how and when humans learned to settle and cultivate lands. That's how their eating habits and diet changed.
Explanation:
Hawaiian Feather Helmet: It was collected in 1778 by Captain Cook. Hats of such design are examples of traditional headgear in musuems around the world
Hoa Hakananai's Easter Island Statue is located in Brititish Museam in London. It was brought from Easter Island in Nov 1868
Bird-Shaped Pestle is a historical artefact thought to be used by early farmers in Papua New Guinea
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:
