1) Gershwin's Porgy and Bess is considered a musical and a D) folk opera. <span>Porgy and Bess is a </span>folk tale which was taken as a basis of the opera. The first time Porgy and Bess was performed in Boston on September, then <span>it moved to Broadway in New York City which was a great success for composer and the troupe.
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2) "The question" in Charles Ives's The Unanswered Question is represented by B) the program. The composer gives<span> a narrative as in </span>program music, that is a type of music<span> that attempts to musically render an extra-musical </span>narrative. Even though Ives employed very creative technique, The Unanswered question was not popular and <span>was not performed until 1946.
</span><span>3) The American composer that was not influenced by jazz is A) Aaron Copland. The rest of composers were greatly influenced by jazz, which can be understood at the very beginning of any of their works. But Copland was different, he came up with his self-made style after three years of studying with Boulanger whose eclectic approach to music he found inspiring.
4) A fuging tune, by definition, includes A) imitative polyphony. A fugue is a contrapuntal compositional technique that is enacted in two or more voices, built on a musical theme that is introduced at the beginning in imitation. In music, imitation means repetition at different pitches. Fuging tune is special because it is tend to recur frequently throughout the composition.
5) The most important American composer of tone poems was <span>Edward MacDowell B) </span>Edward MacDowell. Tone poem, which is also known as symphonic poem, is a piece of orchestral music that illustrates the content of non-musical source. It was brought into the world by composer Franz Liszt and popularized in many works of Edward MacDowell, in his <span>second piano concerto.</span></span>
Answer:
if the teacher dont know then why should u? =_=
Explanation:
I use big brain uVu
The picture is not that clear but A is probably the answer.
Answer:
Explanation:
The artist, architect and engineer could work collaboratively to integrate the artist's ideas into the building/facility, or
Funds can be pooled for community-based public art projects, and
The architect must work cooperatively with the artist and provide the artist, in a timely manner, with all necessary plans, blueprints, drawings, and other such materials that the artist deems necessary to his/her work.
