"The word 'painting' is very prevalent today" within the drag community, he said.
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They assiduously avoid the "I" word, painting the committee's work as garden-variety oversight.
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They make expert use of the word-painting techniques of the Renaissance madrigal and Baroque opera.
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WOOL PROOF Christopher Wool's 1992 word painting, "And if You," offered a clear comparison to where the market was two years ago.
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That was slightly less than the $13.9 million paid this month in New York for a middling quality 1990 Christopher Wool word painting.
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Mr. Nono's "Sarà Dolce Tacere" (1960) on a poem by Cesare Pavese, and Mr. Scelsi's "Tre Canti Sacri" (1958) continue the Renaissance tradition of word painting.
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In brief, in the 1990s Moyer abandoned "elitist" (her word) painting for queer activist art and guerrilla lesbian activities, especially as part (together with photographer Sue Schaffner) of Dyke Action Machine!
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To grasp my point about Vautier's transcendent overreach, one need only to glance at the title of a key écriture word painting in this show, "Tout est art" ("All Is Art") from 1961.
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Ms. Sanders' most highly valued Spiegel collection works at Christie's were Sigmar Polke's 1964 Ben-Day dot canvas, "Frau mit Butterbrot," and "Untitled," a 1988 Christopher Wool word painting emblazoned with "PLEASE" six times.
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The seller of the untitled 1992 word painting by Mr. Wool, "WANT TO BE YOUR DOG," had paid $1.5 million for the work at auction in 2000, according to the Artnet database of salesroom prices.
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Kelley was a conceptual trickster so subtle and clever that in the gallery's latest view of him, an exhibition called "Timeless Painting," curated by Jenelle Porter, the word painting itself is delivered with a knowing wink.
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Kelley was a conceptual trickster so subtle and clever that in the gallery's latest view of him, an exhibition called "Timeless Painting," curated by Jenelle Porter, the word "painting" itself is delivered with a knowing wink.
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The scene, like the art world itself, is a pure cliché: Champagne-serving waiters, an air-kissing hostess, a Christopher Wool word-painting on the wall, and an antsy, importunate artist in residence pitching his latest product.
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A lyrical rendering of a fingerprint, by Moira Dryer; a blue-and-white abstraction that's as fresh as a sea breeze, by Mary Heilmann; and a stencilled word painting, by Christopher Wool, epitomize the dénouement of the period.
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Working in combinations of sound, social critique, music, spoken word, painting, dance, video and slide projection, the artists of "Open Plan" have all made distinctive use of the fifth floor's wonderfully proportioned space — never making it seem overwhelming, never stooping to grandiosity.
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One of them, Twombly's "Untitled (Bacchus 1st Version V)" from 2004, sold for $15.4 million, but it had been estimated at $20 million, and another, a 1990 Christopher Wool word-painting fell to a single bid from Mr. Maezawa at $13.9 million, again below expectations.
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He's a wordsmith > in the Dylan sense of the word, painting pictures of the estate he grew up > in, and the hope of getting out.
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He uses the example of a painting.Twardowski (1894), p. 13 People say of a landscape that it is painted, but also of a painting that it is painted. In the first case the word ‘painting’ is used in a modifying way (a painted landscape is not a landscape at all), while in the latter case the word painting is used in a qualitative or attributive way.
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In the inner movements, sung by three soloists, Bach depicts in word painting terms such as flood, waves and fury. The closing chorale resembles in complexity the chorales of his Christmas Oratorio.
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Late Renaissance composers in particular were concerned with matching text up with music in such a way that the latter could be said to express the former. Madrigalists used a declamation technique known as word painting (text painting or tone painting) to make musical notes illustrate word meanings, trying literally to paint visual images with sonic materials. Thomas Weelkes' madrigal "As Vesta was from Latmos hill descending" uses word painting throughout to declaim textual meaning:Altas, Allan W. 1998. Renaissance Music: Music in Western Europe, 1400-1600.
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The bass aria, "" (God, under Your strong protection we are safe from our enemies.), is accompanied by the two oboes. The middle section shows similar word painting, picturing "" (waves) in octave leaps and fast downward scales.
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Such musical words are placed on words from the Biblical Latin text; for instance when FA-MI-SOL-LA is placed on "et libera" (e.g., introit for Sexagesima Sunday) in the Christian faith it signifies that Christ liberates us from sin through His death and resurrection. Word painting developed especially in the late 16th century among Italian and English composers of madrigals, to such an extent that word painting devices came to be called madrigalisms. While it originated in secular music, it made its way into other vocal music of the period.
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Fair Phyllis by Collegium Vocale Bydgoszcz. This is an English madrigal. Farmer uses clever word painting. For example, in the opening line "Fair Phyllis I saw sitting all alone", Farmer had only the soprano sing since she was all alone.
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The songs are virelais, ballades, rondeaux and diz entés; they include word painting more in the style of the later 14th- century composers than those of the 13th century; they are simple, charming, and debauchery is not a prominent theme.
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The second, the fifth movement, is comparatively "lighter in mood and spirit". It anticipates the melody of the final chorale setting. The alto aria is accompanied by oboe and violin in parallel thirds and sixths. The movement includes several instances of word painting.
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Word painting (also known as tone painting or text painting) is the musical technique of composing music that reflects the literal meaning of a song's lyrics. For example, ascending scales would accompany lyrics about going up; slow, dark music would accompany lyrics about death.
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At Christie's London in February 2012, Untitled (1990), a later word painting bearing the broken word FOOL, sold for £4.9 million ($7.7 million). In November 2013, art dealer Christophe van de Weghe bought Apocalypse Now (1988) for $26.4 million on behalf of a client at Christie's New York.Carol Vogel (November 12, 2013), At $142.4 Million, Triptych Is the Most Expensive Artwork Ever Sold at an Auction The New York Times. Wool's monumental black and white word painting Riot (1990) sold for $29.9 million at Sotheby's New York in 2015.Scott Reyburn (May 13, 2015), A Rothko Tops Sotheby’s Contemporary Art Auction The New York Times.
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As early as 2002, the oil on canvas word painting Talk About Space (1963), a takeoff on the American billboard in which a single word is the subject, was expected to sell for $1.5 million to $2 million from a private European collection. It was eventually sold for $3.5 million at Christie's in New York, a record for the artist.Carol Vogel (May 15, 2002), Contemporary-Art Auction Sets Records for 15 Artists The New York Times. In 2008, Eli Broad acquired Ruscha's "liquid word" painting Desire (1969) for $2.4 million Sotheby's at Sotheby's, which back then was 40 percent under the $4 million low estimate.
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In setting the first sentence, Bach accented the word "nichts" (nothing), repeating it twice, with long rests and echo dynamics. Jones noted that dramatic word painting of this kind was in the tradition of 17th-century motets, such as by Johann Christoph Bach and Johann Michael Bach.
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His madrigals best represent the "classic" phase of development of the form, with their clear outline, four-part writing, refinement, and balance; the word painting, chromaticism, ornamentation, virtuosity, expressionistic and manneristic writing of madrigalists later in the century are nowhere to be found in Arcadelt.Einstein, Vol. I p.
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A bass arioso sets two more verses from the psalm, ' (Day and night are Yours). In ternary form, the outer sections are a sarabande, dealing with day and night, while the middle section describes light and sun, with a joyful motif in the continuo and word-painting in the voice.
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The aria is scored for solo alto voice, two violins, and basso continuo. As with many of Bach's latest cantatas, the aria has a "quality of mellow assurance". It is in adapted ternary form but includes no clear reprise of the opening section. The vocal line includes melismas but no other word painting.
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Chromaticism contributes to the "fleeting shadows" of the welcoming of death. The accompanying keyboard part has historically been played by either harpsichord or organ. The obbligato oboe conveys a number of different ideas: dancing, sighing, and "quasi-tragic" descent. The soprano recitative uses word painting and sustained chordal harmonies to urge the listener into heaven.
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There was a want of systematic accuracy in all her compositions. She had little constructive power, and great ability in word-painting from natural objects. Her style failed in precision, though it was seldom deficient in perspicuity. Her syntax was often faulty; her orthography was notoriously incorrect, and wholly at the mercy of the printers.
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Wert's first three books show some features typical of Rore's writing, such as chromaticism, word-painting, and, according to Alfred Einstein, an "indifference to everything merely formal and ... [a] striving for the most intense expression."Einstein, Vol. II pp. 514–515 In the manner of Adrian Willaert's madrigals, he also explored distant tonal regions, while avoiding jarring harmonic progressions.
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In turn, other cities established their own concerto delle donne, as at Firenze, where the Medici family commissioned Alessandro Striggio (1536– 1592) to compose madrigals in the style of Luzzaschi. In Rome, the compositions of Luca Marenzio (1553–1599) were the madrigals that came closest to unifying the different styles of the time. In the 1560s, Marc'Antonio Ingegneri (1535–1592) — Monteverdi’s instructor — Andrea Gabrieli (1532–1585), and Giovanni Ferretti (1540–1609) re-incorporated lighter elements of composition to the madrigal; serious Petrarchan verse about Love, Longing, and Death was replaced with the villanella and the canzonetta, compositions with dance rhythms and verses about a care-free life. In the late 16th century, composers used word-painting to apply madrigalisms, passages in which the music matches the meaning of a word in the lyrics; thus, a composer sets riso (smile) to a passage of quick, running notes that mimic laughter, and sets sospiro (sigh) to a note that falls to the note below. In the 17th century, acceptance of word-painting as a musical form had changed, in the First Book of Ayres (1601), the poet and composer Thomas Campion (1567–1620) criticised word-painting as a negative mannerism in the madrigal: “where the nature of everie word is precisely expresst in the Note . . .
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By simple definition eye music is when the graphic notation of music is altered in some meaningful way visible to the performers. Often the changed "meaning" of the altered notation is enhanced by the music having compositional elements of melody and form such as word painting and canon. Moreover, the concept is demonstrated by sometimes differing perceptions of composer, performer, and listener.Dart, Thurston.
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His works are a re-invention of old forms and genres, rich with word painting, based on the music of Heinrich Schütz and other early composers. His music is polyphonic and frequently melismatic, often based on the pentatonic scale. His works remain "tonally anchored", while at the same time they "reveal an innovative harmonic sense". Because of these characteristics, his music was stigmatized by some Nazis as "degenerate art".
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The six independent and rather diverse compositions, conceived from 1973-75 primarily evoke forms of Italian madrigals, thus are often interpreted as the composer's return to tradition. Among the main features of this work are: modal centricity and word painting as representative of madrigals, the linear notion of the melodic line, and focusing on the denotative dimension of the text, with occasional dissonances, cluster textures, and “frictions within the vertical (constellations)” (Veselinović-Hofman 1997, 63).
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As with the earlier recitative, it concludes on an arioso repeating the last line of text, again with the "joy" motive in the continuo. The bass aria mirrors the earlier tenor aria in adopting the minor mode. The movement is remarkable for its "reaching" obbligato violin and for the multiple instances of word painting throughout the vocal line. The seventh movement is an alto aria in which the singer assumes a personal view of devotion.
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The changes range from addition of modest ornaments, as in Nach lust or Vil hinderlist, to insertions of new material, as in Mein M. ich hab and Weg wart dein art.Keyl 1989, 252. One particularly important change occurs in Schlick's intabulation of Hertzliebstels pild, in which Schlick attempts a type of word painting: the words "mit reichem Schall" ("with rich sound/splendor") are illustrated by an increase in rhythmic activity.Keyl 1989, 261–262.
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He participated in radio recordings broadcast on the Third Programme in the 1950s. In his obituary, Alan Blyth described Legay's voice as "light yet penetrating timbre, its flexible, liquid character" and that he used it "with fastidious taste" and displayed "keenness of word-painting allied to the inflections of the music". Along with such mid-twentieth century tenors as Alain Vanzo and Léopold Simoneau, Legay represented a lost style of French operatic singing.
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It is episodic, emphasizing a descending chromatic scale motif. The musicologist Tadashi Isoyama notes "the graphically chromatic phrases of the opening sinfonia and the following chorus; these are evocative of the suffering of the world". The following soprano aria, "" (Yet I am and remain content), is also brief but includes significant word painting. The fourth movement, "" (Lead me in your Truth and teach me), is another short and episodic chorus, divided into four sections.
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Bach used word painting to intensify the theological meaning of both hymn and Epistle texts. is one of the few works by Bach for five vocal parts. It may have been composed for a funeral, but scholars doubt a 1912 dating to a specific funeral in Leipzig on 18 July 1723, a few months after Bach had moved to Leipzig. Chorale settings from the motet were included in the Dietel manuscript, which dates from around 1735.
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In an early 4-part vocal work, Quid non- ebrietas? (In some sources called the Chromatic Duo) Willaert uses musica ficta around the circle of 5ths in one of the voices resulting in an augmented 7th in unison with the ending octave, an outstanding experiment with chromatic enharmonicism. Willaert was among the first to extensively use chromaticism in the madrigal. Looking forward, we are given an image of early word painting in his madrigal Mentre che'l cor.
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Maestoso – Più mosso, agitato The piece is a polyphonic four-part work for 16 voices (that is, four each of sopranos, altos, tenors, and basses). Its compositional style is strongly influenced by Ligeti's word- painting techniques from the 60s. Here, lyrics are almost indistinguishable, so the listener is encouraged to listen to the labyrinthic ramifications of the music instead of trying to understand the content of the original poems. Ligeti commented on this work: "My three fantasies are emotional, 'onomatopoetic', overwrought, 16-voiced pieces (not micropolyphonic!)".
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There are also a number of compositions which do not conform to this stylistic pattern. They include three motets which employ the old-fashioned cantus firmus technique as well as the most famous item in the 1589 collection, Ne irascaris Domine. the second part of which is closely modelled on Philip van Wilder's popular Aspice Domine. A few motets, especially in the 1591 set, abandon traditional motet style and resort to vivid word painting which reflects the growing popularity of the madrigal (Haec dies, 1591).
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Rosseter's lute songs are generally short, homophonic, with minimal repetition or word painting (imitating textual meanings through music), while at the same time being rich in musical invention. Rosseter's only other book was Lessons for Consort (1609) for a broken consort of bandora, cittern, lute, flute, and treble and bass viol, which contains arrangements of his own and others' music. Rosseter was also involved in the Jacobean theatre. In 1609 he and Robert Keysar became shareholders in a company of boy actors, the Children of the Chapel.
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He rarely used the cantus firmus technique, preferring the then-new Venetian polychoral manner, yet he was equally conversant with earlier imitative techniques. Some of his chromatic transitions foreshadowed the breakup of modality; his five-voice motet Mirabile mysterium contains chromaticism worthy of Carlo Gesualdo. He enjoyed word painting in the style of the madrigal, yet he could write the simple Ecce quomodo moritur justusJeż 2007, p. 40 later used by George Frideric Handel in his funeral anthem The Ways of Zion Do Mourn.
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The vast majority are shorter, with the discursive imitative paragraphs of the earlier motets giving place to double phrases in which the counterpoint, though intricate and concentrated, assumes a secondary level of importance. Long imitative paragraphs are the exception, often kept for final climactic sections in the minority of extended motets. The melodic writing often breaks into quaver (eighth-note) motion, tending to undermine the minim (half-note) pulse with surface detail. Some of the more festive items, especially in the 1607 set, feature vivid madrigalesque word-painting.
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Queen use word painting in many of their songs (in particular those written by lead singer Freddie Mercury). In "Somebody to Love", each time the word 'Lord' occurs it is sung as the highest note at the end of an ascending passage. In the same piece, the lyrics 'I've got no rhythm; I just keep losing my beat' fall on off beats to create the impression that he is out of time. In BTS's "Lie", the whole song is written in minor key to create tensity and dramatic irony.
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In section C, "" (and if you coldly close yourself to them, they stiffen), Reger uses word painting, by means of downward lines and a final decrescendo for the line erstarren sie bis hinein in das Tiefste (they stiffen, up to the deepest). On the word ' (stiffens), the chorus settles on a dissonant 5-part chord, held for two measures, suddenly fortissimo with a crescendo at the end, then repeated pianissimo, an octave lower, motionless. In great contrast, in "" (The storm of night then grips them), a storm is depicted in dense motion of four parts imitating a theme in triplets.
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The other poems are 13, the story of Hylas and the Nymphs, and 24 the youthful Heracles. It cannot be said that Theocritus exhibits signal merit in his Epics. In 13 he shows some skill in word- painting; in 16 there is some delicate fancy in the description of his poems as Charites, and a passage at the end, where he foretells the joys of peace after the enemy have been driven out of Sicily, has the true bucolic ring. The most that can be said of 22 and 24 is that they are very dramatic.
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Can you feel my temper :Rise, rise, rise, rise, rise, rise, rise, rise, rise, rise, rise, rise, rise.... Each repetition of 'rise' is a semitone higher than the last, making this an especially overt example of word-painting. "Hallelujah" by Leonard Cohen carries a significant example of the text painting, "It goes like this the fourth, the fifth, the minor fall and the major lift, the baffled king composing hallelujah.", signifying the movement of the keys and the chord progression, a kind of ambiguous oscillation between moods. Justin Timberlake's song "What Goes Around" is another popular example of text painting.
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Psalms may be sung unaccompanied or accompanied by an organ or other instrument. Organists use a variety of registrations to mirror the changing mood of the words from verse to verse; but the organ should never be so loud that the words cannot be clearly heard. Organists may sometimes indulge in word painting, using effects such as a deep pedal note on the word "thunder", a harsh reed tone for "darkness" contrasting with a mixture for "light", or (more frivolously!) applying the Zymbelstern to the phrases "round about" (Ps 110:10), "fair ground" (Ps 16:7) and "sea saw" (Ps 114:3).
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Sandrin apparently only wrote secular music, and only chansons, although as is the case with many composers of the era there is always the possibility that much of his music was lost. All of his music is vocal, and all for four voices. Stylistically, Sandrin's music resembles that of Claudin de Sermisy, the more famous composer of Parisian chansons, although Sandrin's blends Italian influences with the native French style. His chansons tend to be homophonic, with occasional contrapuntal detail, but the later ones employ many of the rhythmic devices common in Italian secular music of the period, particularly the frottola, and also are filled with madrigalisms such as word-painting.
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Contemporaries recalled Pardoe as warm-hearted and animated, as well as extremely talented. Samuel Carter Hall said of the late author, she was a "fairy-footed, fair- haired, laughing sunny girl" in her youth, but he poked fun at her attempts to appear girlish in middle age, due to a horror of ageing. Early in her career, Pardoe caught the attention of Princess Augusta of Cambridge, who became interested in her work and asked her to dedicate her next work Traits and Traditions of Portugal (1834) to her, which Pardoe obligingly did and it sold rapidly. Poet Elizabeth Barrett Browning praised City of Magyar as "word painting".
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Particularly during later years, when arthritis made it difficult for him to hold a pen, Russell dictated his work to a secretary. According to The Manchester Guardian, "like most dictated work, these books have a rather inflated, rhetorical, literary manner." Despite this criticism, the paper concluded: According to Woods, "His descriptions of storms at sea and atmospheric effects were brilliant pieces of word painting, but his characterization was often indifferent, and his plots were apt to become monotonous." Among the praise Russell received from his colleagues, he is also far revered by his contemporaries such as Sir Edwin Arnold who said, "he was the prose Homer of the great ocean".
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The topic is the prediction of Jesus of his parting and the coming of the Spirit as a comforter. The first announcement is sung by the bass as the vox Christi, the second, in the centre of the work, by the chorus in three fugues combined in motet style but unified by similar themes. Bach scored the cantata for three vocal soloists (alto, tenor and bass), a four-part choir, and a Baroque instrumental ensemble of two oboes d'amore, strings and continuo. He used elements of word-painting, such as very long notes to illustrate firm belief, and sigh motifs interrupted by rests to illustrate the desiring heart.
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Ferrabosco brought the madrigal to England. While he did not start the madrigal craze there—that really began in 1588 with the publication of Nicholas Yonge's Musica Transalpina, the popularity of which was such that the madrigal instantly became the most prevalent type of composition in England—he did plant the seeds for this development. Ferrabosco's style may have been tame and conservative by the standards of a Marenzio or a Luzzaschi, but it was harmonious with English taste. Most of his madrigals were for five or six voices, were light in style, and largely ignored the progressive developments in Italy such as expressive chromaticism and word-painting.
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Luca Marenzio Luca Marenzio (also Marentio; October 18, 1553 or 1554 – August 22, 1599) was an Italian composer and singer of the late Renaissance. He was one of the most renowned composers of madrigals, and wrote some of the most famous examples of the form in its late stage of development, prior to its early Baroque transformation by Monteverdi. In all, Marenzio wrote around 500 madrigals, ranging from the lightest to the most serious styles, packed with word-painting, chromaticism, and other characteristics of the late madrigal style. Marenzio was influential as far away as England, where his earlier, lighter work appeared in 1588 in the Musica Transalpina, the collection that initiated the madrigal craze in that country.
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Luca Marenzio was hugely influential on composers in Italy, as well as in the rest of Europe, particularly in England, as his madrigals from the 1580s were among the favorites of English composers, who adapted his techniques of word-painting, textural contrast, and chromaticism to an English idiom.Dent, Edward J., 1968 pp. 62, 86 As an example, when Nicholas Yonge published his Musica transalpina in 1588 in England, the first collection of Italian madrigals to be published there, Marenzio had the second-largest number of madrigals in the collection (after Alfonso Ferrabosco the elder); and the second collection of Italian madrigals published in England had more works by Marenzio than anyone else.Ferguson, Donald N. A History of Musical Thought.
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Like "Bohemian Rhapsody", the major hit from Queen's previous album A Night at the Opera (1975), "Somebody to Love" has a complex melody and deep layering of vocal tracks, this time based on a gospel choir arrangement. It was the first single from A Day at the Races, on which Mercury, May and Taylor multitracked their voices to create the impression of a 100-voice gospel choir. The lyrics, especially combined with the gospel influence, create a song about faith, desperation and soul- searching; the singer questions both the lack of love experienced in his life, and the role and existence of God. This is reinforced by frequent use of word painting.
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The evidence that Gesualdo was tortured by guilt for the remainder of his life is considerable, and he may have given expression to it in his music. One of the most obvious characteristics of his music is the extravagant text setting of words representing extremes of emotion: "love", "pain", "death", "ecstasy", "agony" and other similar words occur frequently in his madrigal texts, most of which he probably wrote himself. While this type of word-painting is common among madrigalists of the late 16th century, it reached an extreme development in Gesualdo's music. His music is among the most experimental and expressive of the Renaissance, and without question is the most wildly chromatic.
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Weelkes's madrigals are often compared to those of John Wilbye (who the Dictionary of National Biography described as the most famous of the English madrigalists): it has been suggested that the personalities of the two men - Wilbye appears to have been a more sober character than Weelkes - are reflected in the music. Both men were interested in word painting. Weelkes' madrigals are very chromatic and use varied organic counterpoint and unconventional rhythm in their construction. Weelkes was friends with the madrigalist Thomas Morley who died in 1602, when Weelkes was in his mid-twenties (Weelkes commemorated his death in a madrigal-form anthem titled A Remembrance of my Friend Thomas Morley, also known as "Death hath Deprived Me").
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Other composers living and working in Rome, while not considered members of the Roman School, certainly influenced them. The most famous of these is probably Luca Marenzio, whose madrigals were wildly popular in Italy and elsewhere in Europe; some of the composers of the Roman School borrowed his expressive techniques, for instance word painting, for occasional use in a liturgical setting. While the Roman School is considered to be a conservative musical movement, there are important exceptions. Rome was the birthplace of the oratorio, in the work of Giovanni Francesco Anerio and Emilio de' Cavalieri; the score for Cavalieri's Rappresentatione di Anima et di Corpo is the earliest printed score which uses a figured bass.
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Verdelot, along with Costanzo Festa, is considered to be the father of the madrigal, an a cappella vocal form which emerged in the late 1520s from a convergence of several previous musical streams (including the frottola, the canzone, the laude, and also including some influence from the more serious style of the motet). Verdelot's style balances homophonic with imitative textures, rarely using word-painting, which was largely a later development (though a few interesting foreshadowings can be found). Most of his madrigals are for five or six voices. Verdelot's madrigals were hugely popular, as can be inferred from their frequency of reprinting and their wide dissemination throughout Europe in the 16th century.
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He completed them in 1933 thanks to extensive secretarial help provided by friends and assistants (his condition soon progressed so far that he could not write his name). The first public performance, given by baritone Martial Singher in December 1934 at the Théâtre du Châtelet in Paris, featured the orchestral version, with an ensemble conducted by Paul Paray. For the lusty opening "Chanson Romanesque", Ravel chose the quajira dance-pattern, exploiting the quirks of its alternating and meters for word-painting, and enlivening it by sometimes garnishing the with a clashing dissonance. Sensuality subtly increases with a turn to the major, and the final rhapsodizing on the beloved ("O Dulcinée") deepens the emotional perspective of all that has gone before.
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He points to this type of meter being used by Mendelssohn to alter the speed of vocals in the song and to reflect emotions through distortion of duple norms.Rogers (2011b), He also points to a lack of tonic harmony as a recurring characteristic of her lieder, identifying it in the lied Verlust as a deliberate means to reflect the song's themes of abandonment and failing to find love. Mendelssohn's use of word painting is also acknowledged as a common element of her style, a method of stressing emotion in the song text.Rogers (2011a), She commonly used strophic form for her songs, and her piano accompaniments frequently doubled the voice-line, characteristics also of the music of her teachers Zelter and Berger.
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Some of his works attain an expressive intensity matched in Germany only by those of Schütz, for example the spectacular Fontana d'Israel or Israel's Brünnlein (1623), in which Schein declared his intent to exhaust the possibilities of German word- painting "in the style of the Italian madrigal." Possibly his most famous collection was his only collection of instrumental music, the Banchetto musicale (Musical banquet) (1617) which contains twenty separate variation suites; they are among the earliest, and most perfect, representatives of the form. Most likely they were composed as dinner music for the courts of Weissenfels and Weimar, and were intended to be performed on viols. They consist of dances: a pavan-galliard (a normal early Baroque pair), a courante, and then an allemande-tripla.
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Machado composed several sacred works, but he is better known for his secular 3- and 4-voice cantigas and romances in Mannerist style. Unfortunately, very few of his works have survived (most of them were destroyed during the 1755 Lisbon earthquake). His secular music is characterised by great skill in the flexible use of the meter and harmony to reflect the content of the poems. Machado's highly expressive word-painting, with rich chromatism, unexpected modulation and dissonant chords (such as augmented chords or inverted seventh chords, which would have caused considerable impact in his own time), associated with typical Petrarchan love lyrics, make his romances comparable in style and quality to the Italian late-period madrigals, such as those of Marenzio or Monteverdi.
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Unlike Arcadelt and Verdelot, Willaert preferred the complex textures of polyphonic language, thus his madrigals were like motets, although he varied the compositional textures, between homophonic and polyphonic passages, to highlight the text of the stanzas; for verse, Willaert preferred the sonnets of Petrarch. Second to Willaert, Cipriano de Rore was the most influential composer of madrigals; whereas Willaert was restrained and subtle in his settings for the text, striving for homogeneity, rather than sharp contrast, Rore used extravagant rhetorical gestures, including word- painting and unusual chromatic relationships, a compositional trend encouraged by the music theorist Nicola Vicentino (1511–1576). From Rore’s musical language came the madrigalisms that made the genre distinctive, and the five- voice texture which became the standard for composition.
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While this mannerism is a prominent feature of madrigals of the late 16th century, including both Italian and English, it encountered sharp criticism from some composers. Thomas Campion, writing in the preface to his first book of lute songs 1601, said of it: "... where the nature of everie word is precisely expresst in the Note … such childish observing of words is altogether ridiculous."Thomas Campion, First Booke of Ayres (1601), quoted in von Fischer, Grove online Word painting flourished well into the Baroque music period. One famous, well-known example occurs in Handel's Messiah, where a tenor aria contains Handel's setting of the text: :Every valley shall be exalted, and every mountain and hill made low; the crooked straight, and the rough places plain.
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Most of the compositions that Victoria wrote that were dedicated to Cardinal Michele Bonelli, Philip II of Spain, or Pope Gregory XIII were not compensated properly. Stylistically, his music shuns the elaborate counterpoint of many of his contemporaries, preferring simple line and homophonic textures, yet seeking rhythmic variety and sometimes including intense and surprising contrasts. His melodic writing and use of dissonance is more free than that of Palestrina; occasionally he uses intervals which are prohibited in the strict application of 16th century counterpoint, such as ascending major sixths, or even occasional diminished fourths (for example, a melodic diminished fourth occurs in a passage representing grief in his motet Sancta Maria, occurred). Victoria sometimes uses dramatic word-painting, of a kind usually found only in madrigals.
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Other artists in the collection at one time or another included Mark Innerst, Jeff Koons, Matthew Barney, Joseph Nechvatal, Bernd and Hilla Becher, Andreas Gursky, Thomas Struth, Gilbert & George, Dan Graham, Tom Otterness, Joseph Beuys, Tony Cragg, Katharina Fritsch, Anselm Kiefer, and Sigmar Polke. Much of this adventurous collection of contemporary artworks has been donated to The Museum of Modern Art, On The Edge: Contemporary Art from the Werner and Elaine Dannheisser Collection: September 30, 1997–January 20, 1998 although MOMA turned down Dannheisser's 1996 offer to donate Christopher Wool's celebrated 1988 word painting Apocalypse Now, which would sell in 2013 for $26,485,000 at Christie's auction house. The Dannheisser Foundation at Duane Street closed in 2001 on the death of Elaine Dannheisser.
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The arias are usually written in the Baroque concerto idiom, with extravagant word painting in the orchestra and extensive vocal bravura passages. Adhering to Metastasio's prescription of character definition as the sum of a pattern of dramatic reversals, each aria usually depicts a single affect, with few exceptions: Artaserse and Alessandro each contain a scene complex of related arias and accompanied recitatives. With Demofoonte in 1752, as Perez began his lengthy residence in Lisbon, the monumental idiom declined and a sentimental style gained increasing prominence, with a resultant clarity of texture, greater symmetry of phrase, frequent rhythmic motives and emphasis on the pathetic. Formal modifications include the frequent absence of ritornellos, truncated da capo arias, between five and nine accompanied recitatives and several small ensembles.
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Rufus Hallmark in German Lieder in the Nineteenth Century describes the song as 'rarely performed' and comments that it "offers examples of the Straussian word painting found in many of his lieder...the recurrent piano motive...dramatically anticipates [the] tumult of the storm...a subtle unifying idea in the vocal line is the simple stepwise quarter-note descent. The first two stanzas in G minor give way to G major and a more lyrical, calmer portrayal of drifting snowflakes and thoughts of love and springtime." Critic Charles Osborne has described it as "disappointingly pedestrian." However, the song may be experiencing a revival: two recent collections of Strauss songs, one from 2014 by American bass baritone Thomas Hampson and one from 2015 by German soprano Katharina Persicke have included the song in their selection.
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The second section is a chorale fantasia of the complete tune, with the cantus firmus in long notes in the soprano, while the lower voices add character to the text, for example by singing in a low register when the second line begins with the word "Mitternacht" (midnight). The third section is a short recapitulation of the beginning. The second Movement on the text of the second stanza begins with "Zion hört die Wächter singen", set freely with "only hints of the chorale tune". Its line "Hosianna" quotes the tune, followed by word painting setting “Wir folgen all zum Freudensaal" (We follow all to the joyful hall). The musicologist S. Lachtermann notes: "The shape of the lines, and the contour of the harmonic progression are 'modern', but the interlacing of voices and the focus on individual words harken back to his father’s art.
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His motets, his only known sacred works, are for four and five voices and show the influence of Jean Maillard. A connection between the two is assumed since they both set the same unusual text (Domine salvum fac regem desiderium cordis ejus), and their settings contain apparently deliberate similarities. Costeley's chansons were by far the most famous part of his output, and they are in the Parisian chanson style of the time, with vivid word painting, along with a tendency to think harmonically rather than polyphonically – as the age of purely polyphonic writing was coming to an end over most of Europe. The subject matter of the chansons is widely varied, as was true for most composers in the genre; some of the chansons are love songs, some are imitations of war or victory odes, and some are humorous or scatological.
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However, some of his music quite ignores the reformist dicta of the Council; most notorious is a four-voice motet Noe noe, which is a double canon by inversion, in which it would require an exceedingly keen ear to hear the text: and intelligibility of the text was the one demand made by the Council of Trent of any composer of sacred polyphony. His masses are simple, short, and relatively homophonic, often outdoing Palestrina for clarity and simplicity. His madrigals tend to be conservative, frankly ignoring the innovations of composers such as Luzzaschi and Marenzio who were experimenting with vivid chromaticism and word-painting around the same time. He wrote two books of masses, in 1573 and 1587; at least three books of motets (some may have been lost); and eight books of madrigals, for four to six voices.
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Celia Thaxter in her Garden, 1892, by Childe Hassam Thaxter has done for the sea-shore and the varied aspects of ocean views and the rocky isles of her home, what Whittier has done for the milder aspects of the river on whose banks he dwelt. As he may be said to have exhausted the descriptive beauties of the Merrimac, Thaxter appears to have left nothing unsaid of the varying features of the ocean, whose waves were forever beating at her feet. With the minutest attention to detail; with the keenest observation for shades of difference; with an almost superfine susceptibility to climatic and meteorological changes, so that she might be termed a realist in word- painting, she at the same time possessed the glow and the imagination of the impressionist. Thus we see in her art the happy combination of the two schools.
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While Pisano wrote sacred music in a sober, homophonic style, probably intended to be used during his tenure as maestro di cappella at Ss. Annunziata, it was as a composer of secular music that he was most influential. Pisano is arguably the first madrigalist. In 1520, Venetian printer Ottaviano Petrucci published his Musica di messer Bernardo Pisano sopra le canzone del Petrarcha, a collection of settings of Petrarch influenced by the literary theories of Pietro Bembo; while the pieces in the collection were not yet called "madrigals", they contained several features recognized in retrospect as distinctive of the genre: the set serious texts, the placement of words and accents was done carefully, and they contained word-painting. This publication was also the first collection of secular music by a single composer ever to be printed; previous publications, in the brief two decades since moveable type had first been used for printing music, had been anthologies only.
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The number of lectures hosted at Tibbits picked up during the Henning years in part because for a time, the YMCA sponsored various lecture series. Topics ranged from the problems of the working man hosted by National Assembly of Knights of Labor representative R. F. Trevellick, C. E. Bolton's "Russia and the Romanoffs", a lecture by Robert McIntyre on military life in the Post Civil War South, George Kennan's "Camp Life in Eastern Siberia", topics ranging from love and marriage to prison life, Paul B. DuChailler's prohibitionist lecture, George R. Wendling's discussion of "Saul of Tarsus", lectures on various world geographies, and even one called "Old Ocean, Our Slave and Master", by Prof. Juno B. Demotte.Gillespie, pg. 84–87 Perhaps the biggest draw came from Robert G. Ingersoll who presented a lecture on Abraham Lincoln, attracting audiences from neighboring counties who flocked to listen to his "matchless oratory and brilliant word-painting"The Courier, February 27, 1892, pg.
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Cox left his job at the bank in 1941 and was appointed the first director of the newly formed Sheldon Swope Art Gallery in Terre Haute having been offered the position by William T. Turman, professor of art at Indiana State Teachers College, a recognized artist and chief adviser to the Swope. Cox, describing Turman's job offer, said "When I heard the word 'painting' and when he offered me $600 a year more than I was making, it didn't take me more than a minute to say yes!" At 26, he was the youngest museum director in the U.S. Cox and his wife Hermine made several trips to New York City to buy art for the gallery. His objective was to buy high quality works by living American artists which would be relatively affordable compared to works by European masters. He assembled the Swope's founding collection purchasing 23 paintings by living American artists in the 15 months before the inaugural show which contained new works by artists such as Grant Wood, Thomas Hart Benton, Charles Burchfield, Zoltan Sepeshy and Edward Hopper.
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Lindsay Pollock and Philip Boroff (November 12, 2008), Eli Broad Goes Shopping as Sotheby's Art Auction Falls Short Bloomberg. A navy blue canvas with the word Smash in yellow, which Ruscha painted in 1963, was purchased by Larry Gagosian for $30.4 million at a 2014 Christie's auction in New York.Carol Vogel (November 13, 2014), A Warhol Leads a Night of Soaring Prices at Christie's The New York Times. His word painting Hurting the Word Radio #2 (1964) sold by L.A. collectors Joan and Jack Quinn to an anonymous bidder at Christie's for a record-shattering $52.5 million with fees in 2019.Scott Reyburn (November 13, 2019), Fall Art Auctions See Significant Declines The New York Times.Judd Tully (November 14, 2019), At Solid $325.3 M. Christie’s Contemporary Art Sale in New York, Ed Ruscha Is King ARTnews. Angry Because It’s Plaster, Not Milk from 1965, which had been shown at Ferus Gallery that year, was sold by Halsey Minor to Gagosian GalleryCarol Vogel (May 13, 2010), Art Auction Highlights a Financial Downfall The New York Times. for $3.2 millionEd Ruscha, Angry Because It’s Plaster, Not Milk (1965) Phillips de Pury & Company at Phillips de Pury & Company, New York, in 2010.
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The exact meaning, which appears in scattered contemporary sources, is a matter of debate among musicologists. While some of the sources are contradictory, four aspects seem clear: # musica reservata involved use of chromatic progressions and voice-leading, a manner of composing which became fashionable in the 1550s, both in madrigals and motets; # it involved a style of performance, perhaps with extra ornamentation or other emotive methods; # it used word- painting, i.e. use of specific and recognizable musical figures to illuminate specific words in the text; and # the music was designed to be performed by, and appreciated by, small groups of connoisseurs. Composers in the style of musica reservata included Nicola Vicentino (spelled as Musica riserbata), who wrote about it in his L'antica musica ridotta alla moderna prattica (1555);"...perche con effetto comprendono che (come li scrittori antichi dimostrano) era meritamente ad altro uso la Cromatica & Enarmonica Musica riserbata che la Diatonica, perche questa in feste publiche in luoghi communi a uso delle uulgari orecchie si cantaua: quelle fra li priuati sollazzi de Signori e Principi, ad uso delle purgate orecchie in lode di gran personaggi et Heroi s'adoperauano".
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The musical forms then in common use — the frottola and the ballata, the canzonetta and the mascherata — were light compositions with verses of low literary quality. Those musical forms used repetition and soprano-dominated homophony, chordal textures and styles, which were simpler than the composition styles of the Franco-Flemish school. Moreover, the Italian popular taste in literature was changing from frivolous verse to the type of serious verse used by Bembo and his school, who required more compositional flexibility than that of the frottola, and related musical forms. The madrigal slowly replaced the frottola in the transitional decade of the 1520s. The early madrigals were published in Musica di messer Bernardo Pisano sopra le canzone del Petrarcha (1520), by Bernardo Pisano (1490–1548), while no one composition is named madrigal, some of the settings are Petrarchan in versification and word-painting, which became compositional characteristics of the later madrigal. The Madrigali de diversi musici: libro primo de la Serena (1530), by Philippe Verdelot (1480–1540), included music by Sebastiano Festa (1490–1524) and Costanzo Festa (1485–1545), Maistre Jhan (1485–1538) and Verdelot, himself.
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