Answer:
The Story:
The two girls are the sister and the sister’s friend. The boy is the little brother. He wants to
join in and play with them. She wants to exclude him. He tries pleading, being a pest
(making a noise, running back and forth in front of them, etc), sulking – all to no avail.
Finally he calls in the mother. She tells his sister she is being mean, but then tells him not
to be a pest. At this, the sister includes him in their play. He changes from being a pest to
being a lot of fun.
Suddenly the mother calls him – thinking to get him out of the road. The two girls however
don’t want him to go now. The whole thing ends happily with all good friends
<span>you wrote for whoever would pay you (economic factor) </span>
Answer:
A strong relationship between the arts and politics, particularly between various kinds of art and power, occurs across historical epochs and cultures. As they respond to contemporaneous events and politics, the arts take on political as well as social dimensions, becoming themselves a focus of controversy and even a force of political as well as social change.
A widespread observation is that a great talent has a free spirit. For instance Pushkin, who some scholars regard as Russia's first great writer,[1] attracted the mad irritation of the Russian officialdom and particularly of the Tsar, since he "instead of being a good servant of the state in the rank and file of the administration and extolling conventional virtues in his vocational writings (if write he must), composed extremely arrogant and extremely independent and extremely wicked verse in which a dangerous freedom of thought was evident in the novelty of his versification, in the audacity of his sensual fancy, and in his propensity for making fun of major and minor tyrants.
Explanation:
Bartok was inspired by Stravinsky’s work to put a more traditional and often Baroque forms in pieces of his “middle period” such as Cantata Profana and Music for Strings, Percussion, and Celesta. <span>Stravinsky’s influence waned after the rise of postwar serialism. Messiaen used techniques that were clearly Stravinsky-like, though, such as melodic fragments of different metrical lengths repeating themselves and intersecting in different ways.</span>
