When Music Artfully Depicts or Even Mimics the Text the Result Is Calledã¢â‹
Give-and-take painting, also known every bit tone painting or text painting, is the musical technique of composing music that reflects the literal pregnant of a song's lyrics or story elements in programmatic music.
Historical evolution [edit]
Tone painting of words goes at to the lowest degree as far back as Gregorian chant. Musical patterns expressed both emotive ideas and theological meanings in these chants. For instance, the pattern fa-mi-sol-la signifies the humiliation and death of Christ and his resurrection into celebrity. Fa-mi signifies deprecation, while sol is the note of the resurrection, and la is above the resurrection, His heavenly glory ("surrexit Jesus"). Such musical words are placed on words from the Biblical Latin text; for case when fa-mi-sol-la is placed on "et libera" (e.m., introit for Sexagesima Dominicus) in the Christian religion it signifies that Christ liberates us from sin through his expiry and resurrection.[1]
Give-and-take painting adult especially in the late 16th century amongst Italian and English composers of madrigals, to such an extent that word painting devices came to be called madrigalisms. While information technology originated in secular music, it fabricated its fashion into other vocal music of the menstruum. While this mannerism became 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 commencement book of lute songs in 1601, said of it: "... where the nature of everie word is precisely expresst in the Note … such childish observing of words is altogether ridiculous."[ii]
Word painting flourished well into the Baroque music period. One well-known example occurs in Handel'south Messiah, where a tenor aria contains Handel's setting of the text:[3]
- Every valley shall be exalted, and every mount and hill made low; the kleptomaniacal straight, and the rough places plain. (Isaiah 40:4)[four]
In Handel's melody, the give-and-take "valley" ends on a low note, "exalted" is a rising figure; "mount" forms a peak in the melody, and "colina" a smaller one, while "depression" is another low note. "Crooked" is sung to a rapid figure of 4 different notes, while "straight" is sung on a single note, and in "the crude places plainly", "the rough places" is sung over short, separate notes whereas the final discussion "plain" is extended over several measures in a series of long notes. This tin exist seen in the following example:[five]
In popular music [edit]
There are several examples of word painting in modern music from the tardily 20th century.
One example occurs in the vocal "Friends in Low Places" by Garth Brooks. During the chorus, Brooks sings the word "low" on a low note.[half dozen] Similarly, on The Who's album Tommy, the song "Smash the Mirror" contains the line "Rise, rise, rise, rising, rise, rise, ascent, rise, rise, rise, rise, rise, rise...." Each repetition of "ascension" is a semitone college than the last, making this an particularly overt example of word-painting.[7]
"Hallelujah" by Leonard Cohen includes some other case of word painting. In the line "It goes like this the fourth, the fifth, the minor fall and the major lift, the baffled king composing hallelujah," the lyrics signify the song'south chord progression.[8]
Justin Timberlake's song "What Goes Around" is another popular example of text painting. The lyrics
- What goes effectually, goes around, goes effectually
- Comes all the fashion back around
descend an octave and then render to the upper octave, as though it was going effectually in a circle.
In the chorus of "Up Where We Vest" recorded by Joe Cocker and Jennifer Warnes, the tune rises during the words "Love lift us up".
In Johnny Greenbacks's "Band of Fire", at that place is an inverse word painting where "down, down, downward" is sung to the notes rising, and 'college' is sung dropping from a college to a lower annotation.
In Jim Reeves's version of the Joe Allison and Audrey Allison song "He'll Have to Become," the singer's phonation sinks on the last discussion of the line, "I'll tell the man to plow the juke box way downward low."
When Warren Zevon sings "I think I'thou sinking down," on his song "Carmelita," his vox sinks on the give-and-take "downwards."
In Richard Rodgers and Lorenz Hart's "My Romance," the melody jumps to a higher note on the word "ascent" in the line "My romance doesn't need a castle ascent in Spain."
In recordings of George and Ira Gershwin'south "They Can't Take That Away from Me," Ella Fitzgerald and others intentionally sing the wrong note on the discussion "key" in the phrase "the mode you sing off-key".[9]
Another changed happens during the vocal "A Spoonful of Sugar" from Mary Poppins, as, during the line "Just a spoonful of sugar helps the medicine become down," the words "go down" jump from a lower to a higher notation.
At the beginning of the first chorus in Luis Fonsi's "Despacito", the music is slowed downward when the word "despacito'"(slowly) is performed.
In Underground Garden's "You Heighten Me Up", the words "you raise me up" are sung in a rising scale at the showtime of the chorus.
Queen use word painting in many of their songs (in item, those written past lead singer Freddie Mercury). In "Somebody to Love", each time the give-and-take "Lord" occurs, it is sung equally the highest annotation at the finish of an ascending passage. In the same slice, the lyrics "I've got no rhythm; I just go along losing my vanquish" fall on off beats to create the impression that he is out of time.
Queen also uses word painting through music recording technology in their song "Killer Queen" where a flanger event is placed on the vocals during the give-and-take "laser-beam" in bar 17.[ten]
Meet as well [edit]
- Mickey Mousing
- Musica reservata
- Plan music
- Centre music
References [edit]
- ^ Krasnicki, Ted. "The Introit For Sexagesima Lord's day". New Liturgical Movement.
- ^ Thomas Campion, Kickoff Booke of Ayres (1601), quoted in von Fischer, Grove online
- ^ Jennens, Charles, ed. (1749). Messiah – via Wikisource.
- ^ . Bible (King James). 1769 – via Wikisource.
- ^ Bisson, Noël; Kidger, David. "Messiah: Listening Guide for Part I". Kickoff Nights (Literature & Arts B-51, Fall 2006, Harvard University). The President and Fellows of Harvard College. Retrieved seven September 2021.
- ^ "Word painting in songwriting..." The Song Writing Desk . Retrieved October 29, 2020.
- ^ Ellul, Matthew. "How to Write Music". School of Composition . Retrieved October 29, 2020.
- ^ Ellul, Matthew. "How to Write Music". School of Composition . Retrieved October 29, 2020.
- ^ "A LEVEL Functioning Studies: George Gershwin" (PDF). Oxford Cambridge and RSA (Version 1): 16. September 2015. Retrieved October 29, 2020.
- ^ "Queen: 'Killer Queen' from the anthology Sheer Center Attack" (PDF). Pearson Schools and FE Colleges. Surface area of study 2: Vocal Music: 97. Retrieved October 29, 2020.
Sources [edit]
- One thousand. Clement Morin and Robert M. Fowells, "Gregorian Musical Words", in Choral essays: A Tribute to Roger Wagner, edited past Williams Wells Belan, San Carlos (CA): Thomas Business firm Publications, 1993
- Sadie, Stanley. Word Painting. Carter, Tim. The New Grove Dictionary of Music and Musicians. 2d edition, vol. 27.
- How to Listen to and Understand Cracking Music, Role 1, Disc 6, Robert Greenberg, San Francisco Solarium of Music
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Source: https://en.wikipedia.org/wiki/Word_painting
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