Answer:
4th I believe. Wish you good luck.
Translation:
u Jusa. In: MERCEDES
sound disc. Side B, track 3.
1-
Do you recognize the language in which the lyrics of that Song are written? Although not the
Portuguese, you are likely to understand some verses, after all it is a language that has quite a few
similarities with the Portuguese language. Which countries are mentioned in the letter? What do they have in common?
two-
Read the verses and then answer: What is this song about? To whom is the invitation addressed?
last verse of the lyrics?
3- When listening to the song, you imagine that you find a magic lamp, and inside it comes a
genius. The genius introduces himself and tells you that you have the right to place three orders. What would you ask for?
Order 1:
Order 2:
Order3:
4- On the sites below, you will do a search on the singer Mercedes Sosa. Record the
information that is relevant.
https://en.wikipedia.org/wiki/Mercedes Sosa
https://en.wikipedia.org/wiki/Mercedes Sosa
Answer:
I hope that help
Explanation:
Graphic designers usually need a bachelor's degree in graphic design or a related field. Candidates for graphic design positions should demonstrate their creativity and originality through a professional portfolio that features their best designs.
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:
