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Text painting is a defining characteristic of the sixteenth-century madrigal style, especially in association with references to height. Whereas composers cannot have given musical illustration to every such reference contained within the text of a madrigal, the question of whether or not the music that accompanies a particular reference to height constitutes an actual example of text painting is sometimes unclear. To explore this problem empirically, the frequency with which musical excerpts from a corpus of 201 madrigals composed by the Italian composer Luca Marenzio satisfied three proposed definitions of height-related text painting was measured. The three definitions required a vocal part to contain either a large leap, stepwise motion, or an extreme of pitch. Positive correlations were observed between the appearance of music conforming to each of the respective definitions and the presence of height-related imagery in the text, yet only in passages that satisfied more than one definition. The research suggests that no single definition is a reliable indicator of height-related text painting, and that most legitimate examples rely on multiple compositional devices.

In this bold recasting of operatic history, Gary Tomlinson connects opera to shifting visions of metaphysics and selfhood across the last four hundred years. The operatic voice, he maintains, has always acted to open invisible, supersensible realms to the perceptions of its listeners. In doing so, it has articulated changing relations between the self and metaphysics. Tomlinson examines these relations as they have been described by philosophers from Ficino through Descartes, Kant, and Nietzsche, to Adorno, all of whom worked to define the subject's place in both material and metaphysical realms. The author then shows how opera, in its own cultural arena, distinct from philosophy, has repeatedly brought to the stage these changing relations of the subject to the particular metaphysics it presumes. Covering composers from Jacopo Peri to Wagner, from Lully to Verdi, and from Mozart to Britten, Metaphysical Song details interactions of song, words, drama, and sounds used by creators of opera to fill in the outlines of the subjectivities they envisioned. The book offers deep-seated explanations for opera's enduring fascination in European elite culture and suggests some of the profound difficulties that have unsettled this fascination since the time of Wagner.

After the political and cultural seclusion of the 1950s young Hungarian composers turned to Western European new music. While learning contemporary compositional techniques they were searching for a new Hungarian identity in music. The musicological discourse about new Hungarian music concentrated on the ' Hungarianness' of their music too. Composers used Hungarian literary texts, and referred to Hungarian music culture with musical allusions. They inherited the idea of the combination of the up-to-date Western European compositional techniques with the old Hungarian tradition from Kodály and Bartók, i.e. they were aware of the primacy of tradition. György Kurtág's (1926) concert for soprano and piano, The Sayings of Péter Bornemisza (1963-1968) represented for Hungarian musicians the paradigmatic example of new Hungarian music, modern and traditional at the same time. It was based on an old Hungarian text from the 16th-century, like Kodály's Psalmus Hungaricus (1923). The vocal part, however, refers to Webern's melodic concept, the piano part follows Stockhausen's piano writing, and Kurtág quotes neither Hungarian folk music nor old Hungarian art music. The paper investigates by means of musical analysis the question why contemporaries felt that Kurtág's piece represents unambiguously a Hungarian identity. Kurtág -as well as his contemporaries -uses symbols, allusions connected to certain words and word-paintings while concentrating on the picturesque elements of music. The source of this compositional attitude is Kodály's oeuvre, foremost the Psalmus Hungaricus. From this angle Kurtág's The Sayings stands for the new-old Hungarian musical tradition.

In these essays, Roger Parker brings a series of valuable insights to bear on Verdian analysis and criticism, and does so in a way that responds both to an opera-goer's love of musical drama and to a scholar's concern for recent critical trends. As he writes at one point: \"opera challenges us by means of its brash impurity, its loose ends and excess of meaning, its superfluity of narrative secrets.\" Verdi's works, many of which underwent drastic revisions over the years and which sometimes bore marks of an unusual collaboration between composer and librettist, illustrate in particular why it can sometimes be misleading to assign fixed meanings to an opera. Parker instead explores works likeRigoletto, Il trovatore, La forza del destino, andFalstafffrom a variety of angles, and addresses such contentious topics as the composer's involvement with Italian politics, the possibilities of an \"authentic\" staging of his work, and the advantages and pitfalls of analyzing his operas according to terms that his contemporaries might have understood. Parker takes into account many of the interdisciplinary influences currently engaging musicologists, in particular narrative and feminist theory. But he also demonstrates that close attention to the documentary evidence--especially that offered by autograph scores--can stimulate equal interpretive activity. This book serves as a model of research and critical thinking about opera, while nevertheless retaining a deep respect for opera's continuing power to touch generations of listeners.

This study explores the integration of painting into English language instruction as a creative approach to vocabulary acquisition among students in the Arab sectors of northern Israel. Conventional teaching methods, often reliant on rote memorization, fail to fully engage learners or foster long-term retention. This research examines the effectiveness of painting in bridging this pedagogical gap by combining visual and linguistic elements to create a multisensory learning experience. Using qualitative methods—including teacher and student questionnaires, classroom observations, and case studies—the study evaluates the role of artistic expression in improving vocabulary retention, fostering creativity, and enhancing student engagement. Findings indicate that painting allows students to form stronger associations between words and meanings, increases motivation, and reduces language anxiety by offering an alternative mode of expression. Additionally, the study highlights the broader cognitive and social benefits of painting, including the development of critical thinking, collaborative learning, and cultural expression. However, challenges such as limited art resources, difficulties in aligning painting with standardized curricula, and the need for ongoing teacher guidance were identified. To address these barriers, the study recommends increased teacher collaboration, strategic curriculum adaptation, and enhanced resource allocation to ensure sustainable implementation. These findings contribute to the growing body of research advocating art-based approaches in language education and offer practical strategies for educators seeking to create more dynamic and inclusive classrooms. By emphasizing the intersection of art and language learning, this study underscores the transformative potential of painting in English vocabulary acquisition, particularly in multilingual and culturally diverse settings.

In our prior research, average recognition memory response bias tended to be conservative when stimuli were paintings, whereas bias for common English words tended to be liberal or neutral. Efforts to understand the mechanism(s) underlying this materials-based bias effect (MBBE) have yielded new questions but no definitive answers. Here, we report a set of studies exploring the possibility that participants respond more conservatively to paintings because they expect the novel, visually rich paintings to evoke a strong, detailed memory experience at test, whereas the more familiar, visually similar words are not expected to produce this kind of vivid recollection as often. In three studies using variations of the remember/know procedure, we found that correctly recognized paintings were more often reported as \"remembered\" than were recognized words. There were also parallel materials-based differences in the reported bases for \"new\" responses. But we did not observe the expected relationships between response bias and these subjective reports. We discuss the implications of these results for accounts of the MBBE, and the more general issue of the role of stimulus materials in recognition memory response bias. Dans nos recherches antérieures, le biais de réponse moyen de la mémoire de reconnaissance avait tendance à être conservateur lorsque les stimuli étaient des peintures, alors que le biais pour les mots anglais courants avait tendance à être libéral ou neutre. Les efforts visant à comprendre le(s) mécanisme(s) sous-jacent(s) à cet effet de biais basé sur les matériaux (MBBE) ont donné lieu à de nouvelles questions, mais pas de réponses définitives. Nous présentons ici une série d'études explorant la possibilité que les participants répondent de manière plus conservatrice aux peintures parce qu'ils s'attendent à ce que les peintures nouvelles et visuellement riches évoquent une expérience de mémoire forte et détaillée au moment du test, alors que les mots plus familiers et visuellement similaires ne sont pas censés produire ce type de souvenir vif aussi souvent. Dans trois études utilisant des variantes de la procédure « mémoriser/connaître », nous avons constaté que les peintures correctement reconnues étaient plus souvent déclarées comme « mémorisées » que les mots reconnus.Il y avait également des différences parallèles basées sur les matériaux dans les bases rapportées pour les « nouvelles » réponses. Mais nous n'avons pas observé les relations attendues entre le biais de réponse et ces rapports subjectifs. Nous discutons des implications de ces résultats pour les postulats de la MBBE, et la question plus générale du rôle des matériaux de stimulus dans le biais de réponse de la mémoire de reconnaissance. Public Significance Statement Participants' recognition memory decisions-and the bases upon which they reported making these decisions-were markedly different for paintings and words. Understanding how memory and memory-related decisions are affected by the nature of the materials is important for the development of general theories of how memory works.

This work aims discussing the contribution of environmental and technological factors in rock art painting preservation, based on a 3-year experimental program and two archaeological cases from Patagonia (South America). Concerning technological factors, microscopic information of experimental and archaeological contexts indicate that fine-grained pigments have a better preservation potential than coarse-grained ones, likely related to the high binder adsorption capacity of silty and clay size particles, resulting in a strong pigment agglutination and substrate adherence. Mechanical entrapment/translocation of such small particles into the substrate further contributes to preservation. The experiment also evidences that blood-bearing paints present preservation advantages over fat/water-based ones, probably due to clotting and drying processes which agglutinate pigments and seal rock voids, avoiding binder migration. In contrast, experimental gypsum- and, to a lesser extent, charcoal-based paints show a rapid and significant deterioration, particularly in the temperate and humid context. The low archaeological expectancy derived from these results is supported by the scarce and/or ambiguous regional representation of these black pigments in ancient Patagonian paintings. Among natural factors, water-related processes (i.e., rainfall, snow, freezing and water infiltration) play a decisive role in the physicochemical paint degradation, also favoring bioactivity. Raman spectroscopy of neoformed white crystals in experimental paints may evidence, in a short term, a first stage of the profuse biomineralizations archaeologically observed, associated with lichens, fungus, and endolithic organisms. Finally, sheep rubbing and wind abrasion are proposed as the main agents affecting vertical frequencies and integrity of archaeological motifs at the cave and open-air contexts, respectively, whereas differences related to cardinal insolation likely impact in frequencies, motif color and weathering stages at the open-air site too.

Modern public art is an important characteristic form of painting creation, which is constantly given new connotations with the development of the times and the progress of science and technology. Based on the characteristics of modern public art, the article explores the digitalization practice, creation process, and corresponding techniques for painting creation. The TF-IDF algorithm is introduced to mine the digital theme keywords expressed in painting creation, and the BERTopic model is combined to mine the digital theme of painting creation. The K-Means clustering algorithm is used for clustering the digital theme keywords of painting creation, and the digital theme keyword co-occurrence network is integrated to analyze the digital theme research trend of painting creation and expression for modern public art. When the number of digitized themes of painting creation and expression is 50, the F1 value of the BERTopic model can reach 94.36%, and the AUC area for digitized themes of painting creation and expression is 93.37%. The mean value of the keyword clustering profile coefficient of the digitized themes of painting creation and expression is 0.945, and the frequency of “painting creation” in the keyword co-occurrence network is up to 304 times. Relying on digital technology to create modern public art paintings, the digital theme expression of public art can be better realized.

Ruskin, and to some extent his followers, is often seen as the great Victorian prophet of beauty. In his early writing he invests beauty with the force of religious truth. In a passage intended for the second volume of Modern Painters (1846), he writes of the power of an Alpine avalanche teaching him ‘what till then I had not known — the real meaning of the word Beautiful. With all that I had ever seen before — there had come mingled the associations of humanity — the exertion of human power — the action of human mind. The image of self had not been effaced in that of God […] . It was then that I understood that all which is the type of God’s attributes […] can turn the human soul from gazing upon itself […] and fix the spirit […] on the types of that which is to be its food for eternity; — this and this only is in the pure and right sense of the word beautiful’ (Works, IV, 364–65). But he was never entirely content with this definition, and only two years later writes of the landscape of the Jura in very different terms: ‘Those ever springing flowers and ever flowing streams had been dyed by the deep colours of human endurance, valour, and virtue; and the crests of the sable hills that rose against the evening sky received a deeper worship, because their far shadows fell eastward over the iron walls of Joux and the four-square keep of Granson’ (VIII, 223–24). In his later work he retreats from his youthful belief that the value of beauty is distinct from human character, claiming instead that ‘endurance is nobler than strength, and patience than beauty’ (XVI, 372). The perspective of his work shifts to the social and political, and he turns from the analysis of beauty to a critique of the circumstances that excluded men and women from its creation, or its presence. As he became more interested in justice, he grew less interested in beauty. To see the celebration of beauty as the primary motive of his work is to mistake the nature of its persistent challenge.

Purpose This study aims to provide a structured and comprehensive synthesis of studies of the art infusion phenomenon, which describes the influence of art on consumers’ perception and evaluation of a product with which that art is associated. Further, this study aims to identify the issues in the literature and suggest future research directions. Design/methodology/approach Publications relevant to the art infusion phenomenon until 2021 were identified through a systematic literature review. Subsequently, the 35 retrieved articles that met the selection criteria were evaluated using descriptive and content analyses. Findings This literature review brings to light the origin, significance, evolution and development of the art infusion phenomenon. This study highlights the catalogue of drivers of this phenomenon and illuminates the interrelationships among the factors through a conceptual model using the stimulus-organism-response (SOR) paradigm. Research limitations/implications This study adds to the art infusion literature by synthesizing extant studies and presenting a comprehensive overview of the subject, thereby motivating its prorogation and becoming a single point of reference for scholars. Originality/value The art infusion phenomenon has become a dominant theoretical pillar in the fields of arts and branding. However, little effort has been made to systematically review research on the phenomenon and consolidate its findings. To address this gap, this study first identifies and categorizes the factors that influence the art infusion phenomenon using the SOR paradigm. This study then creates a conceptual model that elucidates the interrelationships among the key elements of the phenomenon.