Some context: Anton Friedrich Wilhelm (von) Webern (German: ['anton 've:ban] ( listen); 3 December 1883 - 15 September 1945) was an Austrian composer and conductor. Along with his mentor Arnold Schoenberg and his colleague Alban Berg, Webern was in the core of those in the circle of the Second Viennese School, including Ernst Krenek and Theodor W. Adorno. As an exponent of atonality and twelve-tone technique, Webern exerted influence on contemporaries Luigi Dallapiccola, Krenek, and even Schoenberg himself.
Webern insisted on lyricism, nuance, rubato, sensitivity, and both emotional and intellectual understanding in performance of music; this is evidenced by anecdotes, correspondence, extant recordings of Schubert's Deutsche Tanze (arr. Webern) and Berg's Violin Concerto under his direction, many such detailed markings in his scores, and finally by his compositional process as both publicly stated and later revealed in the musical and extramusical metaphors and associations everywhere throughout his sketches. As both a composer and conductor he was one of many (e.g., Wilhelm Furtwangler, Dimitri Mitropoulos, Hermann Scherchen) in a contemporaneous tradition of conscientiously and non-literally handling notated musical figures, phrases, and even entire scores so as to maximize expressivity in performance and to cultivate audience engagement and understanding.  This aspect of Webern's work had been typically missed in his immediate post-war reception, however, even as it may radically affect the music's reception. For example, Boulez's "complete" recording of Webern's music yielded more to this aesthetic the second time after largely missing it the first; but Eliahu Inbal's rendition of Webern's symphony with the hr-Sinfonieorchester is still far more within the spirit of the late Romantic performance tradition (which Webern seemingly intended for his music), nearly slowing to half-tempo for the whole of first movement and taking care to delineate and shape each melodic strand and expressive gesture throughout the entirety of the work.  Gunter Wand's 1966 recording of the Cantata No. 1 (1938-40), op. 29, with the Symphonieorchester des Bayerischen Rundfunks et al., may likewise be contrasted with both of Boulez's renditions.
Name one performance style
A: lyricism, nuance, rubato, sensitivity, and both emotional and intellectual understanding in performance of music;
Some context: Frederick Douglass (born Frederick Augustus Washington Bailey; c. February 1818 - February 20, 1895) was an African-American social reformer, abolitionist, orator, writer, and statesman. After escaping from slavery in Maryland, he became a national leader of the abolitionist movement in Massachusetts and New York, gaining note for his oratory and incisive antislavery writings. In his time, he was described by abolitionists as a living counter-example to slaveholders' arguments that slaves lacked the intellectual capacity to function as independent American citizens. Northerners at the time found it hard to believe that such a great orator had once been a slave.
After returning to the U.S. in 1847, Douglass started publishing his first abolitionist newspaper, the North Star, from the basement of the Memorial AME Zion Church in Rochester, New York. The North Star's motto was "Right is of no Sex - Truth is of no Color - God is the Father of us all, and we are all brethren." The AME Church and North Star vigorously opposed the mostly white American Colonization Society and its proposal to send blacks back to Africa. This and Douglass's later abolitionist newspapers were mainly funded by English supporters, who gave Douglass five hundred pounds to use as he chose. Douglass also soon split with Garrison, perhaps because the North Star competed with Garrison's National Anti-Slavery Standard and Marius Robinson's Anti-Slavery Bugle.  Douglass also came to consider Garrison too radical. Earlier Douglass had agreed with Garrison's position that the Constitution was pro-slavery, because of its compromises related to apportionment of Congressional seats, based on partial counting of slave populations with state totals; and protection of the international slave trade through 1807. Garrison had burned copies of the Constitution to express his opinion. But, Lysander Spooner published The Unconstitutionality of Slavery (1846), which explored the United States Constitution as an anti-slavery document. Douglass's change of opinion about the Constitution and his splitting from Garrison around 1847 became one of the abolitionist movement's most notable divisions. Douglass angered Garrison by saying that the Constitution could and should be used as an instrument in the fight against slavery.  In September 1848, Douglass published an open letter addressed to his former master, Thomas Auld, berating him for his conduct, and enquiring after members of his family still held by Auld. In a graphic passage, Douglass asked Auld how he would feel if Douglass had come to take away his daughter Amanda as a slave, treating her the way he and members of his family had been treated by Auld.
how did the public percieve the newspaper
A: The AME Church and North Star vigorously opposed the mostly white American Colonization Society and its proposal to send blacks back to Africa.
Some context: Stephen Edwin King (born September 21, 1947) is an American author of horror, supernatural fiction, suspense, science fiction, and fantasy. His books have sold more than 350 million copies, many of which have been adapted into feature films, miniseries, television series, and comic books. King has published 54 novels, including seven under the pen name Richard Bachman, and six non-fiction books. He has written around 200 short stories, most of which have been collected in book collections.
King's formula for learning to write well is: "Read and write four to six hours a day. If you cannot find the time for that, you can't expect to become a good writer." He sets out each day with a quota of 2000 words and will not stop writing until it is met. He also has a simple definition for talent in writing: "If you wrote something for which someone sent you a check, if you cashed the check and it didn't bounce, and if you then paid the light bill with the money, I consider you talented."  Shortly after his accident, King wrote the first draft of the book Dreamcatcher with a notebook and a Waterman fountain pen, which he called "the world's finest word processor".  When asked why he writes, King responds: "The answer to that is fairly simple--there was nothing else I was made to do. I was made to write stories and I love to write stories. That's why I do it. I really can't imagine doing anything else and I can't imagine not doing what I do." He is also often asked why he writes such terrifying stories and he answers with another question: "Why do you assume I have a choice?" King usually begins the story creation process by imagining a "what if" scenario, such as what would happen if a writer is kidnapped by a sadistic nurse in Colorado.  King often uses authors as characters, or includes mention of fictional books in his stories, novellas and novels, such as Paul Sheldon who is the main character in Misery, adult Bill Denbrough in It, Ben Mears in Salem's Lot, and Jack Torrance in The Shining. He has extended this to breaking the fourth wall by including himself as a character in the Dark Tower series from Wolves of the Calla onwards. See also List of fictional books in the works of Stephen King for a complete list. In September 2009 it was announced he would serve as a writer for Fangoria.
How does he create horror story?
A:
King usually begins the story creation process by imagining a "what if" scenario, such as what would happen if a writer is kidnapped by a sadistic nurse in Colorado.