Answer the question at the end by quoting:

Migration Period art denotes the artwork of the Germanic peoples during the Migration period (ca. 300-900). It includes the Migration art of the Germanic tribes on the continent, as well the start of the Insular art or Hiberno-Saxon art of the Anglo-Saxon and Celtic fusion in the British Isles. It covers many different styles of art including the polychrome style and the animal style.
The study of Northern European, or "Germanic", zoomorphic decoration was pioneered by Bernhard Salin in a work published in 1904. He classified animal art of the period roughly from 400 to 900 into three phases: Styles I, II and III. The origins of these different phases are still the subject of considerable debate; the development of trends in late-Roman popular art in the provinces is one element, and the older traditions of nomadic Asiatic steppe peoples another. The first two styles are found very widely across Europe in the art of the "barbarian" peoples of the Migration Period.  Style I. First appears in northwest Europe, it became a noticeable new style with the introduction of the chip carving technique applied to bronze and silver in the 5th century. It is characterized by animals whose bodies are divided into sections, and typically appear at the fringes of designs whose main emphasis is on abstract patterns.  Style II. After about 560-570 Style I was in decline and Salin's Style II began to replace it. Style II's animals are whole beasts, but their bodies are elongated into "ribbons" which intertwined into symmetrical shapes with no pretence of naturalism, and rarely any legs, so that they tend to be described as serpents, although the heads often have characteristics of other types of animal. The animal becomes subsumed into ornamental patterns, typically using interlace. Thus two bears are facing each other in perfect symmetry ("confronted"), forming the shape of a heart. Examples of Style II can be found on the gold purse lid.  After about 700 localised styles develop, and it is no longer very useful to talk of a general Germanic style. Salin Style III is found mainly in Scandinavia, and may also be called Viking art.

Did a lot of the Animal Style art survive?



Some context: Bruce Randall Hornsby (born November 23, 1954) is an American singer and pianist. Hornsby draws frequently from classical, jazz, bluegrass, folk, Motown, gospel, rock, blues, and jam band musical traditions. Hornsby's recordings have been recognized on a number of occasions with industry awards, including the 1987 Grammy Award for Best New Artist with Bruce Hornsby and the Range, the 1990 Grammy Award for Best Bluegrass Album, and the 1994 Grammy Award for Best Pop Instrumental Performance. Hornsby has also achieved recognition for his solo albums and performances, his touring band Bruce Hornsby and the Noisemakers, his bluegrass project with Ricky Skaggs and his appearances as a session and guest musician.
Bruce Randall Hornsby was born in Williamsburg, Virginia, a son of Robert Stanley Hornsby (1920-1998), an attorney, real-estate developer and former musician, and his wife, nee Lois Saunier. Raised a Christian Scientist, he has two siblings: Robert Saunier "Bobby" Hornsby, a realtor with Hornsby Realty and locally known musician, and Jonathan Bigelow Hornsby, an engineer who has collaborated in songwriting.  He graduated from James Blair High School in Williamsburg, Virginia, in 1973, where he played on the basketball team. He studied music at the University of Richmond, as well as Berklee College of Music and the University of Miami, from which he graduated in 1977.  In the spring of 1974 Hornsby's older brother Bobby, who attended the University of Virginia, formed the band "Bobby Hi-Test and the Octane Kids" to play fraternity parties, featuring Bruce on Fender Rhodes and vocals. The band, which is listed in Skeleton Key: A Dictionary for Deadheads, performed covers of Allman Brothers Band, The Band, and predominantly Grateful Dead songs. Although Hornsby's collaboration with Bobby Hornsby would be relatively short-lived, Bobby's son R.S. was a recurring guest-guitarist with Hornsby's band and periodically toured with his uncle. His performances were often looked forward to by fans. R.S. Hornsby died on January 15, 2009 in a car accident near Crozet, Virginia. He was 28.  Following his graduation from the University of Miami, in 1977, Hornsby returned to his hometown of Williamsburg, and played in local clubs and hotel bars. In 1980, he and his younger brother (and songwriting partner) John Hornsby moved to Los Angeles, where they spent three years writing for 20th Century Fox. Before moving back to his native southeastern Virginia, he also spent time in Los Angeles as a session musician. In 1982 Hornsby joined the band Ambrosia for their last album Road Island and can be seen in the band's video for the album's single "How Can You Love Me." After Ambrosia disbanded, he and bassist Joe Puerta performed as members of the touring band for pop star Sheena Easton. Hornsby can clearly be seen in the music video for Easton's 1984 hit single "Strut."
What happened in Bruce's early years?
A: Bruce Randall Hornsby was born in Williamsburg, Virginia,

IN: 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.

What was notable about his music style?

OUT:
extramusical metaphors and associations everywhere throughout his sketches.