Answer:
This is what is known as eudaimonia, flourishing, or happiness, which is desired for its own sake with all other things being desired on its account. Eudaimonia is a property of one's life when considered as a whole. Flourishing is the highest good of human endeavors and that toward which all actions aim.
Explanation:
The differences between Latino/Caribbean styles as opposed to Norteno, Cojunta, Tejano or Banda was its use of bands and transitions.
Explanation:
NORTENO
It is one of the most famous music in the urban and rural places of northern Mexico. It is also known as 'northern'. These bands mainly played corridos and rancheras and they began in the 20th century.
COJUNTO
Cojunto began outside Texas, it was considered as the traditional music among the Mexicans and the Mexicans Americans. It is an ensemble that performs a unique music.
TEJANO
Tejano is a Texan - Mexican music, which came around 1950's with was imitated from rock and jazz of other counties. Many famous singers like Selena, Emilio, and La Mafia contributed to this genre.
BANDA
Norteno and Tejano are accordion based bands whereas Banda is large bands with 10 - 12 members who focus on percussion. It influences many Mexican genres like bolero, cumbia, and corridos.
Answer: C. Before beginning the engraving, the artist must apply a thin layer of acid to the metal surface on which the engraving will be done.
Explanation:
The blues is an American art form and the most important musical form in jazz. Although there are other formal paradigms of the blues, such as 8-bar or 16-bar, this course focuses on different incarnations of the 12-bar blues. There are considerable differences between Early Jazz blues, Swing blues, Bebop blues, Modal blues, and Post Bop blues. Each type has its unique harmonic syntax, melodic vocabulary and, associated with them, improvisational techniques. While other aspects of jazz performance practice have been constantly changing from one stylistic convention to another, the blues has never lost its identity and expressive power, and continues to exert a powerful influence on the harmonic and melodic syntax of jazz. This seven-week course explores important aspects of the blues, blues improvisation, basic keyboard textures, jazz harmonic and melodic syntax. Topics include: (1) Blues Progressions; (2) Blues and Other Scales; (3) Improvisational Tools, and others. This course will also cover valuable theoretical concepts enabling the student to master the art of jazz improvisation. Each topic will be introduced from a practical perspective with the clearly stated goal: to improve one’s improvisational skills. Jazz improvisation is rooted in spontaneity, creativity, self-expression and, at the same time, self-control and order. A unique pedagogical approach based on a one-to-one musical interaction conducted with different instrumentalists will help to reinforce many of the concepts introduced in this course and realize its stated objectives.
<span>timbre, dynamics, melody, harmony, rhythm</span>
