What type of melodic line is 1-12: stepwise,skips,leaps,or one note pls help it’s due tn

Answer:

c

Explanation:

It on ☺☺☺☺☺☺☺☺☺☺☺☺☺☺☺☺☺☺☺☺☺you

Answer:

Explanation:

Answer:

sorry I'm too late bro

Explanation:

also nice pfp XD

Answer:

C edge2023 ~o~

Explanation:

Answer:

El Greco is best known for his tortuously elongated figures painted in phantasmagorical pigmentation, which almost resembled chalk with its blunt vividness.

Explanation:

IDC

Answer:

I DONT EEVEN KNOOOOWWW

Explanation:

Answer:

Foley Sounds. Make sure to capitalize the "f" in foley! hope this helps :D

Explanation:

Foley is the reproduction of everyday sound effects that are added to films, videos, and other media in post-production to enhance audio quality. These reproduced sounds, named after sound-effects artist Jack Foley, can be anything from the swishing of clothing and footsteps to squeaky doors and breaking glass.

Sound effects created in a studio for use in a film or play, known as Foley sounds. Therefore, option A is correct.

Foley sounds are a type of sound effects created in a studio environment to simulate or enhance everyday audio elements in films, television shows, or plays.

Named after sound pioneer Jack Foley, these sounds are produced by Foley artists who perform and record custom-made sounds synchronized with the actions on-screen.

Foley sounds include footsteps, clothing rustling, door opening and closing, and other physical interactions.

By capturing these sounds in a controlled environment, Foley artists add a layer of realism and depth to the audio, enhancing the overall immersive experience for the audience.

Therefore, option A is correct.

Learn more about Foley sounds here:

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Most probably, your complete question is this:

What kind of sound effects are created in a studio for use in a film or play? Sound effects created in the studio are called:

A. Foley sounds.

B. Ambient sounds.

C. Vocal sounds.

D. Musical sounds.

E. Special effects sounds.

Please select the correct option from the given choices.

Answer:

'To me there is no art because it is free. I see at as it's own world to explore and dominate. I let my art do its own thing and let it fly. Art can choose itself. You just have to let it go.'

Answer:

I believe Pentatonic/ not exactly sure

Explanation:

Ive played upright bass for 6 yrs

Answer:

The ghost is me

Explanation:

20 characters

Answer:

You are the ghost is the only explanation

Explanation:

Answer:

Baroque

Explanation:

Just took the test

Answer:

Baroque

Explanation:

Answer:

mute

Explanation:

Answer:

No problem!

Explanation:

The inclusion of a lower neighbour note, B flat, forms a motif that will be heard, transposed, in the second theme .

MODERATO

The key is established by dominant seventh and tonic harmony in Bar 8-9. The theme is embellished with a florid vocal-like fioritura in Bar 33. The harmony is coloured by diatonic sevenths, , secondary dominant sevenths , diminished sevenths and suspensions . The opening passage features appoggiaturas in both hands .

It ends with a V7 – i cadence in G minor in Bar 39-40, then is repeated, agitato. The sempre più mosso passage is based on tonic, dominant, and diminished seventh harmony, with a strong tonic presence in the bass . The harmony moves in a circle of fifths in Bars 72-75 , with extensive use of suspensions and appoggiaturas in the melody for expressive dissonance. The theme is restated from Bar 76, now ending with a strong VI7 – II7 – V7 – I progression in Bars 80-82 to confirm the key of E flat major.

There is a constant crotchet broken chord accompaniment through this passage, with some syncopation in the melody, including an implied hemiola in Bar 73-74, where the right hand part of each bar is grouped into three minims rather than two. The melodic motif in this passage sometimes recalls the first theme . The harmony rises by thirds in Bars 90-93 , moving towards A minor and settling on its dominant in Bar 94.

A TEMPO

The melody keeps stepping up to the leading note in Bars 102, 103, and 104, as if striving for the tonic, but is sent back to the submediant note instead each time. The prevailing diminished seventh harmony in these bars heightens the sense of harmonic frustration. The initial dominant seventh and tonic progression releases the tension that had built up in the preceding bars. The theme is now much more exuberant than before, in strong chordal texture and with some florid embellishment.

The ending is extended from Bar 118, leading to a fff diminished seventh chord in Bar 124. It continues in E flat major, using tonic and dominant seventh harmony at first. There is an unexpected shift to F sharp minor in Bars 154-155, and the bass descends by semitones in Bars 155-158, leading to the tonic chord of E flat major in second inversion. The key of E flat major is reconfirmed by dominant and tonic harmony in Bars 158-163, and there is a momentary shift to E flat minor in Bars 164-165.

Bars 191-193 return to G minor.

PRESTO CON FUOCO

The Neapolitan sixth reappears in Bars 216, and 224, together with many dominant and diminished sevenths, and some chromatic movement in the bass, but there is no further modulation. There is an extended dominant-tonic progression in Bars 246-252, and there are references to the first theme in Bare 253 and 257.

I hope this helps, if it doesn't there is a site called tonic chord that might help you

Explanation:

solidly rooted in society. Remarkably, at present all

major political parties are deeply rooted in society. The

UDF’s formidable organization, when combined with

the staying power and enduring unity of the BSP and

the loyalty of the MRF’s followers and activists, is

giving rise to a polity in which parties—rather than

spellbinding leaders, the state apparatus, independent

local strongmen, the military, or private oligarchs—are

the central actors in political life. As the Italian experi-

ence demonstrates, pluralistic partyocracy can engender

clientelism, dysfunctional politicization of parts of the

private sector, and political sclerosis. The Italian expe-

rience also shows that pluralistic partyocracy can spur

consolidation of democracy and progress toward

prosperity in a poor, peripheral, and demoralized land.

M. Steven Fish is an associate professor of political science at the

University of California, Berkeley. He is the author of

Democracy from Scratch: Opposition and Regime in the

New Russian Revolution (Princeton University Press, 1995).

Robin S. Brooks is a Ph.D. candidate in the department of polit-

ical science at the University of California, Berkeley. She is writing

her dissertation on ethnic self-identification and nation building in

postcommunist Europe.

Answer:

The setting of Ratched is mostly in a hospital with the acception of the outdoors, a rented room, and some other places. All the costumes used are either the main nurse outfits, or formal wear, with some "regular" clothing here and there. The costume designer's roles and responsibilities include: making sure all the outfits are taliored correctly, that they all match/are consistant with eachother, and are fitting for the scene.

I hope that helps! This was my project on it.

Answer:

In the movie, Raiders of the Lost Ark, the lead character is Indiana Jones. Harrison Ford plays the role of an archaeologist and an adventurer. Some enthusiasts have nicknamed the character “Indy.” Ford’s costume in this movie (and its sequels) is designed to reflect Indiana Jones’s preference for active, tough outdoor adventures in mountains, rocky areas, caves, and wild environments. The costume, and its accessories, are popularly called “Indy’s duds.”

The costume designer Deborah Nadoolman Landis designed the original Indy costume. She researched costumes worn by archeologists in earlier movies. She visualized the basic idea for Indy’s costume based on the actor Charlton Heston’s costume in the 1954 movie, Secret of the Incas. In this movie, Heston’s character wears a fedora (a hat) and a leather jacket, and carries a whip. These three costume accessories (hat, jacket, and whip) are featured in every Indy film, and they define the character of Indiana Jones almost as much as the actor himself.

When costumes are made for a movie, they are often adapted, not only to suit the actor’s physical appearance, but also to aid other aspects of the movie-making process. For example, costume designers must keep in mind the cinematographer’s needs when creating hats. They must consider whether the audience will be able to see the actor’s eyes and face in every scene, from different angles. Collaborating with Deborah, Harrison Ford tried on many different hats until they selected one that suited his gruff personality. Then, Deborah modified this hat, giving it a narrower brim and a lower crown to keep Indy’s eyes and face clearly visible in all the shots.

The director, Steven Spielberg, was very specific about the kind of leather jacket he wanted. Accordingly, Deborah designed over a dozen exclusive jackets that included “action” pleats at the back. These pleats allowed Ford to move his hand easily whenever he needed to use his whip in an action sequence. Each of the jackets was “aged” so that it looked as if it had been used outdoors in dusty surroundings for many years.

These aspects of costume design in this movie show how the designer’s roles and responsibilities include research, visualization, selection, and adaptation of costumes, and also collaboration with the actor and director.

Explanation:how you doin?

Answer:

I really don't understand

Answer:

true

Explanation:

Answer:

you were right for the first three the rest is l,s,s,l,s,s,l,s,s,l,s

Explanation:

beocuse they are on the lines and spaces

Answer:

"when the sins of my father"

"Make it rain"

Explanation:

There are more surviving chants by Hildegard than by any other composer from the entire Middle Ages, and she is one of the few known composers to have written both the music and the words. One of her works, the Ordo Virtutum, is an early example of liturgical drama and arguably the oldest surviving morality play.

Answer:

Distortion

Explanation:

In the painting by Parmigianino, the Mannerist technique used in the description of the Madonna is distortion. The right answer is a.

Mannerism was an artistic style that emerged in the late Renaissance period, characterized by deliberate exaggeration and distortion of proportions and forms. Parmigianino, a prominent Mannerist painter, was known for his elongated figures and stylized compositions. In this context, the technique of distortion refers to the intentional elongation and exaggeration of the Madonna's proportions and features, deviating from naturalistic representation.

The Mannerist technique of distortion employed by Parmigianino in the depiction of the Madonna adds a sense of elegance and otherworldly beauty to the painting, emphasizing the spiritual and ethereal nature of the subject. It challenges conventional notions of proportion and creates a heightened sense of drama and emotion in the composition.

The correct answer is option a.

Know more about Mannerist technique here

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Answer: The three types if listening music is Sensuous, Expressive and Sheerly musicals.

The Sensuous level is the most pleasurable as it is calm and smooth. It doesn't require any activity from the brain hence used as background music.

The Expressive level uses the brain as one needs to concentrate as one generally tend to feel a emotion and to feel something one needs to focus.

The Sheerly level is for the professionals who make their own notes and manipulations.  

Hope this helps :)

Answer:

number 8. A

number 12. E

Answer:

I believe Alvin Ailey meant that everybody should be given the chance to dance despite their race or color (or whatever background they have). What is important is their commitment and passion for dancing. Dance performances should also be seen by everyone, whether black or white. It should let people know how dance reflects them and how the "human spirit" flows through different dances.

Explanation:

Alvin Ailey was an African-American in the 1900s who experienced the inequality brought about by segregation of races. He grew up with his mom as force laborers. Luckily, they were able to transfer to Los Angeles. From there, he learned the art of dancing and became a professional in it over time. Soon, he opened the Alvin Ailey American Dance Theater which targeted the black dancers. He gave them the opportunity to showcase their talents despite being lowly treated by society. He gave them hope and self-esteem to achieve their dreams.

1: JR currently makes street art using wheat pasting & huge mono photographs

2:JR is from Paris, France.

3: [I don’t know sorry even google wasn’t a help]

4:He is trying to show that everyone has their difference and rights no matter how their appearance is. “I realized I was giving people a voice.”

Answer:

*waits in silence*

Explanation:

Prehistoric art covers Europe, the Mediterrean, and Western Asia from the Paleolithic period (Old Stone Age) about 30,000 years ago to approximately 2500 B.C.E. The most comprehensive representation of Paleolithic art ever published and a radical (and controversial) new way of interpreting it.

Answer:

me and dont forget the d

Explanation:

Answer:

me and d

Explanation:

Answer:

Thank chu bro

Answer: D

When I look at the artwork of famous photographers, I get more experience in inspiration. I get knowledge of what to photograph. I learn new ideas, like how to edit with different filters. And lastly, I learn more technical skills because I learn how to fix photos when they do not come out good.

Hope this answer helps!

Answer:

I believe its D. All of the above.

Explanation:

Well any of these can really occur while studying famous photographers. You could get inspired to try it yourself, learn some ideas on maybe a project, drawing or photo, and you could learn some technical skills.

I know its not much but I hoped I helped. :)