Answer the question at the end by quoting:

The Iberians (Latin: Hiberi, from Greek: Iberes, Iberes) were a set of peoples that Greek and Roman sources (among others, Hecataeus of Miletus, Avienus, Herodotus and Strabo) identified with that name in the eastern and southern coasts of the Iberian peninsula, at least from the 6th century BC. The Roman sources also use the term Hispani to refer to the Iberians. The term Iberian, as used by the ancient authors, had two distinct meanings. One, more general, referred to all the populations of the Iberian peninsula without regard to ethnic differences (Pre-Indo-European, Celts and non-Celtic Indo-Europeans).
After the First Punic war, the massive war debt suffered by Carthage led them to attempt to expand their control over the Iberian peninsula. Hamilcar Barca began this conquest from his base at Cadiz by conquering the Tartessian Guadalquivir river region, which was rich in silver. After Hamilcar's death, his son-in-law Hasdrubal continued his incursions into Iberia, founding the colony of Qart Hadasht (modern Cartagena) and extending his influence all the way to the southern bank of the river Ebro. After Hasdrubal's assassination in 221 BC, Hannibal assumed command of the Carthaginian forces and spent two years completing the conquest of the Iberians south of the Ebro. In his first campaign, Hannibal defeated the Olcades, the Vaccaei and the Carpetani expanding his control over the river Tagus region. Hannibal then laid siege to Roman ally of Saguntum and this led to the beginning of the Second Punic War. The Iberian theater was a key battleground during this war and many Iberian and Celtiberian warriors fought for both Rome and Carthage, though most tribes sided with Carthage. Rome sent Gnaeus and Publius Cornelius Scipio to conquer Iberia from Carthage. Gnaeus subsequently defeated the Iberian Ilergetes tribe north of the Ebro who were allied with Carthage, conquered the Iberian oppidum of Tarraco and defeated the Carthaginian fleet. After the arrival of Publius Scipio, Tarraco was fortified and, by 211 BC, the Scipio brothers had overrun the Carthaginian and allied forces south of the Ebro. However, during this campaign, Publius Scipio was killed in battle and Gnaeus died in the retreat. The tide turned with the arrival of Publius Cornelius Scipio Africanus in 210 BC. Scipio attacked and conquered Carthago Nova and defeated the army of Hasdrubal Barca at the Battle of Baecula (209-208). The war dragged on with Carthage sending more reinforcements until the Battle of Ilipa (modern Alcala del Rio in Sevilla province), which was a decisive victory for Publius Scipio Africanus. The Carthaginians retreated to Gades, and Publius Scipio gained control over the entire south of the peninsula. After this victory, the Ilergetes and other Iberian tribes revolted and it was only after this revolt that the Romans conquered the rest of the Carthaginian territories in southern Spain. After the Carthaginian defeat, the Iberian territories were divided into two major provinces, Hispania Ulterior and Hispania Citerior. In 197 BC, the Iberian tribes revolted once again in the H. Citerior province. After securing these regions, Rome invaded and conquered Lusitania and Celtiberia. The Romans fought a long and drawn out campaign for the conquest of Lusitania. Wars and campaigns in the northern regions of the Iberian peninsula would continue until 16 BC, when the final rebellions of the Cantabrian Wars were defeated.

What happened when the war ended?

the Iberian territories were divided into two major provinces, Hispania Ulterior and Hispania Citerior.

Answer the question at the end by quoting:

Albert Ayler (; July 13, 1936 - November 25, 1970) was an American avant-garde jazz saxophonist, singer and composer. After early experience playing R&B and bebop, Ayler began recording music during the free jazz era of the 1960s. However, some critics argue that while Ayler's style is undeniably original and unorthodox, it does not adhere to the generally accepted critical understanding of free jazz. In fact, Ayler's style is difficult to categorize in any way, and it evoked incredibly strong and disparate reactions from critics and fans alike.
Ayler routinely showcased his highly untraditional personal saxophone style in very conventional musical contexts, including children's songs, march melodies, and gospel hymns. However, Ayler's wild energy and intense improvisations transformed them into something nearly unrecognizable. Ayler took a deconstructive approach to his music, which was characteristic of the free jazz era. Phil Hardy says that Ayler "dismantled" melody and harmony in order to more deeply explore "the physical properties" of his saxophone. Ayler wished to free himself and his bandmates to improvise, relate to one another, and relate to their instruments on a more raw, "primal" level. The intensely spiritual aspect of Ayler's music was clearly aligned with the beliefs of jazz saxophonist John Coltrane, who was profoundly affected by the "otherworldly" sounds of Ayler's music. This effect is especially evident in Coltrane's albums Meditations and Stellar Regions. Coltrane served as a mentor throughout Ayler's life, providing financial and professional support. This intensity, the extremes to which Ayler took his tenor saxophone, is the most defining aspect of his sound. His style is characterized by timbre variations, including squeaks, honks, and improvisation in very high and very low registers. He possessed a deep blistering tone--achieved by using the stiff plastic Fibrecane no. 4 reeds on his tenor saxophone--and used a broad, pathos-filled vibrato. Ayler experimented with microtonality in his improvisations, seeking to explore the sounds that fall between the notes in a traditional scale. This technique was best showcased when he played, as he often did, without a piano, backed only by bass and drums. Ayler also resisted the standard swing beat, and instead built momentum through the frenetic speed of his improvisatory lines, which he forcefully overblew from his saxophone. Jazz historian Ted Gioia describes Ayler as a "virtuoso of the coarse and anomalous," and claims that Ayler aimed to break away from the constraints of playing notes and instead to "enter into a new realm in which the saxophone created "sound"." Ayler undeniably succeeded in doing this; he produced sounds that were unlike any made by jazz saxophonists before him. However, while some found a powerful artistic voice, even musical genius, in these sounds, others found only noise.

What was his style of music?
Ayler took a deconstructive approach to his music, which was characteristic of the free jazz era.