by calculating the price of all of the materials
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pra vc ter um futuro melhor;-;
Martin Luther had great impact on the worship and musical life of early Lutheranism. He was an accomplished musician, a singer, a lute player, and one who knew much of the music and many of the musicians of his day. He wrote to support the adequate funding of church music, the musical education of children in the schools, and the musical education of pastors and teachers. He wrote new hymns as well as "corrected and improved" older hymns. He composed at least one short polyphonic motet, "Non moriar sed vivam" ("I shall not die, but live"). When it came to worship and the liturgy, he continued the basic pattern and tradition of the medieval Mass with two exceptions. He deleted the Canon of the Mass and the prayers at the Offertory. Luther's basic approach was to retain whatever past traditions were not contrary to his understand of the Gospel. Luther advocated certain new reforms that included the use of vernacular congregational song as an integral part of the liturgy, the importance of the sermon, and communion in both kinds. Throughout all his liturgical and musical reforms, Luther always sought to demonstrate the continuity and unity of the reforming movement with the church catholic. The Reformation was born when Renaissance polyphony was the prevailing musical style. It is exemplified in the music of Dufay and Binchois and culminated in the music of Heinrich Isaac and the renowned Josquin Desprez. This style was characterized by imitative pholyphony. It usually was based on the foundation of Gregorianmelodies normally found in the tenor part. This musical style, with words associated with melodies, reflected Luther's understanding that the Word of the Gospel was to be presented simply and preoclaimed musically in an objective fashion and not to be "interpreted" <u>Carl Shalk</u>The turbulent days of the church of the early Reformation and its dire struggle with the Roman Catholic church were past. The Reformation made worshipers aware of the "Priesthood of All Believers." In the 17th century, people in the Lutheran congregations continued to participate actively in worship. More congregations now had printed hymnals. Composers wrote music that built upon the old traditions, but also incorporated the new styles that were emerging. Settings of Gospel motets gave people the opportunity to conitinue to hear the Word in traditional polyphonic settings called the "first practice." Instruments and voices of the choir and congregation joined in stimulating settings of chorales. Congregations often sang stanzas in alternation with choral and instrumenal stanzas. Magnificent polychoral settings of chorales and Psalms were written for several choirs of voices and instruments. The organ continued to introduce congregational and liturgical song. The chorale prelude grew in importance as a vehicle to introduce chorale singing. As time passed, organs began to accompany congregational song. Under the influence of developments in the madrigal and opera, concerted music of the "second practice" became a part of church music. The basso continuo and monody were adapted to compositions for worship. The organ and instruments assumed new roles in concerted writing. Choral music and congregational song changed, reflecting a new emphasis on personal peity and the expressive capability of concerted music. Four masters of Lutheran church music provided leadership for a growing and vigorous practice. early in the century, Michael Praetorius wrote splendid chorale arrangements and polychoral settings for voices and instruments. Johann Hermann Schein wrote in the old polyphonic style, but also developed the scared madrigal in the concerted style. Samuel Scheidt was the first great Lutheran organist and composer. Heinrich Schütz, the most renowned composer of his time, contributed masterworks in all styles of sacred vocal music.Carlos Messerli The 18th Century... This was an age of uneven support and recognition for
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Explanation:
technlogical advancement. Please divide your essay and give each time period a specific paragraph
I'm like, way too obsessed with the 2000s and shouldn't know as much as I do. So, like, excuse me if I go a bit overboard here.
Fashion in the early 2000s was mainly form-fitting on the top (blouses were pretty big), while the bottom was more loose, like flared jeans or sagging your pants. Loose, trapeze type dresses (but like, structured on the top but completely unstructured past the bust. I don't think there's a name for that type of dress, it's just so weird and /such/ a fashion crime).
This started to change around maybe 2004-2005? ish when emo/pop punk started getting way more traction and Paris Hilton became a major style influence (like, I could write an essay about her genius. She influenced an entire dam/n generation and CREATED the Kardashians. What an icon). Jeans became tighter (if emo did anything right, it was getting rid of bell bottoms for good) and more low rise. Actually, severely low-rise (thanks, Paris Hilton). And the god awful whatever-the-heII-that-was dress was replaced by slip dresses (courtesy of our lord and savior, Paris Hilton again). Oh yeah, I also can't not mention the Juicy Couture tracksuits which were /huge/ in the early 2000s. (Also, I think tube tops were either early 2000s or mid-2000s, which was major because the partying scene literally exploded.)
TL;DR mostly form-fitting. If you need examples, just cite Paris Hilton or Juicy Couture.
