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It is considered a basic skill to keep the pitching hand hidden in the glove as long as possible during a pitch. If the pitcher is failing to do this, he is said to be "tipping his pitches". [2] The split-finger fastball is one pitch that draws its success mainly by falsely telegraphing a straight fastball to the batter.
See Art periods for a chronological list. This is a list of art movements in alphabetical order. These terms, helpful for curricula or anthologies, evolved over time to group artists who are often loosely related. Some of these movements were defined by the members themselves, while other terms emerged decades or centuries after the periods in ...
An art movement is a tendency or style in art with a specific art philosophy or goal, followed by a group of artists during a specific period of time, (usually a few months, years or decades) or, at least, with the heyday of the movement defined within a number of years.
Alternatively, transpositional combinatoriality is the lack of shared pitch classes between a hexachord and one or more of its transpositions. For example, 0 2 4 6 8 t, and its transposition up one semitone (+1): 1 3 5 7 9 e, have no notes in common.
Ébauche (loanword from French, meaning blank, outline or sketch) is a preliminary underpainting or quick sketch in oils for an oil painting. Horology, clockmaking and watchmaking appropriated the term ébauche to refer to an incomplete or unassembled watch movement and its associated components.
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Carrying (i.e. 1. generally, sliding in pitch from one note to another, usually pausing just above or below the final pitch, then sliding quickly to that pitch. If no pause is executed, then it is a basic glissando; or 2. in piano music, an articulation between legato and staccato, like portato) portato or louré
"Some of the labels that became attached to Abstract Expressionism, like "informel" and "Action Painting," definitely implied this; one was given to understand that what was involved was an utterly new kind of art that was no longer art in any accepted sense. This was, of course, absurd." – Clement Greenberg, "Post Painterly Abstraction".