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 . . . such childish observing of words is altogether ridiculous.”