Предмет: Алгебра, автор: steblovasonyaa

за 4 костюма и 2 футболки заплатили 70 тысяч рублей. один костюм на 4 тысячи дороже одной футболки. сколько стоит один костюм?

Ответы

Автор ответа: sergeybasso

Ответ:

13 000 рублей

Объяснение:

Костюм на 4000 р дороже, чем футболка, значит 4 костюма стоят как 4 футболки плюс 4×4000 = 4 футболки + 16 000

По условиям 4 костюма и 2 футболки стоят 70 000. Значит 4 футболки + 16 000 + 2 футболки = 70 000

4 футболки + 16 000 + 2 футболки = 4 футболки + 2 футболки + 16 000 = 6 футболок + 16 000

Значит 6 футболок + 16 000 = 70 000

Значит 6 футболок = 70 000- 16 000 = 54 000

Значит она футболка стоит 54 000 ÷ 6 = 9 000

А костюм на 4000 дороже - значит он стоит 9000+4000=13 000 рублей

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Theoretical approaches
Many scholars have discussed potential functions of music exclusively from a theoretical point of view. The most prominent of these approaches or theories are the ones that make explicit evolutionary claims. However, there are also other, non-evolutionary approaches such as experimental aesthetics or the uses-and-gratifications approach. Functions of music were derived deductively from these approaches and theories. In addition, in the literature, one commonly finds lists or collections of functions that music can have. Most of these lists are the result of literature searches; in other cases authors provide no clear explanation for how they came up with the functions they list. Given the aim of assembling a comprehensive list, all works are included in our summary.

Functions of music as they derive from specific approaches or theories
Evolutionary approaches. Evolutionary discussions of music can already be found in the writings of Darwin. Darwin discussed some possibilities but felt there was no satisfactory solution to music's origins (Darwin, 1871, 1872). His intellectual heirs have been less cautious. Miller (2000), for instance, has argued that music making is a reasonable index of biological fitness, and so a manifestation of sexual selection—analogous to the peacock's tail. Anyone who can afford the biological luxury of making music must be strong and healthy. Thus, music would offer an honest social signal of physiological fitness.

Another line of theorizing refers to music as a means of social and emotional communication. For example, Panksepp and Bernatzky (2002, p. 139) argued that

in social creatures like ourselves, whose ancestors lived in arboreal environments where sound was one of the most effective ways to coordinate cohesive group activities, reinforce social bonds, resolve animosities, and to establish stable hierarchies of submission and dominance, there could have been a premium on being able to communicate shades of emotional meaning by the melodic character (prosody) of emitted sounds.

A similar idea is that music contributes to social cohesion and thereby increases the effectiveness of group action. Work and war songs, lullabies, and national anthems have bound together families, groups, or whole nations. Relatedly, music may provide a means to reduce social stress and temper aggression in others. The idea that music may function as a social cement has many proponents (see Huron, 2001; Mithen, 2006; Bicknell, 2007).

A novel evolutionary theory is offered by Falk (2004a,b) who has proposed that music arose from humming or singing intended to maintain infant-mother attachment. Falk's “putting-down-the-baby hypothesis” suggests that mothers would have profited from putting down their infants in order to make their hands free for other activities. Humming or singing consequently arose as a consoling signal indicating caretaker proximity in the absence of physical touch.

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