mass. It has the superscript "trinitas in un[um]" ("three in one") as a clue to its solution, is a mensuration canon of 3:1, and has one voice take part at the interval of a fifth, that is, 3:2. Its relation to the Christian Holy Trinity is clear, suggesting the use of a triangular representation. The representation is unique, although possibly from a copy used by Dossi. Humanism With the significant shift of style of composers of the Humanist movement—the rediscovery and translation of Greek texts in the mid-16th century—eye music flourished. The change in musical practice, particularly with the madrigalists and their focus on text declamation, at a word-by-word basis, was fertile ground for eye music. Words that suggest "blackness," such as "death" or "night," receive "black" notes (e.g. quarter notes, eighth notes); "white words" such as "light" or "pale" receive "white" notes (e.g. whole notes, half notes). With the Italian madrigalists from the 1580s until the early 17th century (whose style was almost literally imported to England), eye music reached its apogee until its transformation in the 20th century. Luca Marenzio is considered the composer most fond of eye music. For example, in the madrigal Senza il mia sole from his Madrigali a quattro, cinque e sei voci (1588), black notes are used for "chiuser le luci" ("close their eyes") Reaction by theorists of the time was mixed. A leading musical humanist, Vincenzo Galilei (the father of the physicist), was opposed to it but Zarlino approved. In the 20th century, Alfred Einstein, a groundbreaking scholar of the Humanist madrigal, wrote that eye music is "the most extreme and (for our aesthetic convictions) most horrible testimony of naturalism, of imitazione, in the madrigal." Baroque In Telemann's Gulliver Suite for two violins the note values in the chaconne are "Lilliputian", and, in the gigue, are "Brobdingnagian" ones. Because the Lilliputian movement is written in the bizarre time signature of , and the Brobdingnagian one in the equally obtuse (which is doubly humorous because gigues are generally light and brisk), the time signatures reduce to and , perfectly normal ones for each movement, as are the tempos associated with them and the type of dance of each. 20th century Post-tonal music has seen an expansion of eye music in line with its expansion and experimentalism of musical techniques. The last examples using a rigorous scoring system rooted in standard practice are the