This moment broke up State of's poetic rhythm, a jarring interruption of an otherwise entrancing performance.
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69, 1995, p 70. His poems were also notable for faithfully representing modern poetic rhythm.
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Poe Poe Poe Poe Poe Poe Poe. Baton Rouge: Louisiana State University Press, 1972: 39. has no discernible or consistent poetic rhythm, though the meter resembles a section of Lord Byron's Manfred. Instead of formal structure, the poem focuses on the flow of sound.
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Their language and poetic rhythm are not as well-developed as in his later works. His major work, The Seasons, was titled by Rheza. It consisted of four idylls, totaling 2,997 hexameters. The work was a long-term project, often revised and rewritten, without a clear beginning or ending.
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Aruz wezni, or aruz prosody, is a kind of Turkic poetic rhythm. The earliest founder of this versification system was Khalil ibn Ahmad, who used the ancient name of his hometown "Aruz" to name it. There were 16 kinds of modalities of aruz at first. Later Persian scholars added 3 kinds.
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For his work in Cognitive Poetics and poetic rhythm Tsur was awarded the 2009 Israel Prize in general literature. In its reasons, the Prize committee states that "he is one of the outstanding, internationally renowned scholars of literature in Israel, who has the reputation of an exceptionally original researcher and theoretician of literature".
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Rapping is distinct from spoken word poetry in that it is performed in time to the beat of the music.Attridge, Derek, 2002, Poetic Rhythm: An Introduction, Cambridge University Press, p. 90.Edwards (2009), How to Rap, p. 63. The use of the word "rap" to describe quick and slangy speech or witty repartee long predates the musical form.
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Lovecraft's success is, in part, the result of his success. Lovecraft's style has often been subject to criticism, but scholars such as S. T. Joshi have shown that Lovecraft consciously utilized a variety of literary devices to form a unique style of his own – these include prose-poetic rhythm, stream of consciousness, alliteration, and conscious archaism (largely in his pre-1921 works).
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Robinson Jeffers The methods for creating poetic rhythm vary across languages and between poetic traditions. Languages are often described as having timing set primarily by accents, syllables, or moras, depending on how rhythm is established, though a language can be influenced by multiple approaches. Japanese is a mora-timed language. Latin, Catalan, French, Leonese, Galician and Spanish are called syllable-timed languages.
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Bob and wheel is the term for a pairing of two metrical schemes. The wheel is a type of rhythm used in hymns or narrative songs sung in European churches or gatherings from the 12th to the 16th Centuries. A wheel occurs when at the end of each stanza, the song and the lyric return to some peculiar rhythm. In some instances the wheel is a return to something that resembles no definable poetic rhythm.
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Jeroen Mettes grew up in Valkenswaard, studied philosophy in Utrecht, and literary studies at Leiden University, where he worked on his thesis on poetic rhythm until his death in 2006. In 1999, he began writing the long prose-poem he called N30. This was the code-name of the 1999 Seattle protests organised during the WTO negotiations. The protesters were demanding a global recognition of fair trade, trade unions and environmental legislation.
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According to Francis Crawford Burkitt, they are intended to form "a full and ordered exposition of the Christian faith." The standpoint is that of the Syriac-speaking church, before it was touched by the Arian controversy. Beginning with faith as the foundation, the writer proceeds to build up the structure of doctrine and duty. The Demonstrations are works of prose, but frequently, Aphrahat employs a poetic rhythm and imagery to his writing.
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There is strong internal evidence that Harris writes with some considerable experience of deep sea voyaging. This practical background is combined with a solid understanding of those principles you would expect a "teacher of the mathematicks" to know and an evident determination to improve the practice of navigation by "persons of ordinary capacity". The result is a book which positively seeps best practice, well described. In some places his prose approaches a poetic rhythm, not I think consciously, but because of a deep sympathy with his subject.
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"Fire" was met with generally mixed reviews and was met with criticism due to its pop tones. Rockstar Weekly stated that "Fire" it's "more radio friendly than anything". Loud Wire said that "has a hip-shaking drum beat has a tinge of a dancy feel without losing its edginess. Scabbia sings the very appealing chorus “Let the fire enter / Let the anger start to brew / Let your instincts break the rules / Let it rise and consume / Give into yourself.” Its poetic rhythm and upbeat drum pattern makes the song that more enjoyable".
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It was translated into German in 1969, Russian in 1974, and Serbo-Croatian in 1982 (see above). Levý was also concerned with the theory of verse. In many of his essays, he deals with the problems of verse translation ("Isochronism of Facts and Isosyllabism as Factors of the Poetic Rhythm"; "Verse Rhythm as a Means of Dramatic Interpretation"; "The Verse of the Czech Folk Poetry and its Echoes"; "The Development of the Czech Theatre Blank-Verse," etc.). Levý also wrote significant essays on T. S. Eliot, Walt Whitman, Ben Jonson and others.
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In his doctoral dissertation (Sussex University, 1971) Tsur developed an approach which he later called "Cognitive Poetics". This is an interdisciplinary approach that combines literary theory, linguistics, psychology, and philosophy. It explores the relationship between the structure of the text and the human qualities perceived in it, and the mediating processes that take place in the reader's mind. He applied Cognitive Poetics to rhyme, sound symbolism, poetic rhythm, metaphor, poetry and altered states of consciousness, period style, genre, archetypal patterns, translation theory, the implied critic's decision style, critical competence and literary history.
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Georges Moustaki (born Giuseppe Mustacchi; 3 May 1934 – 23 May 2013) was an Egyptian-French singer-songwriter of Jewish Italo-Greek origin, best known for the poetic rhythm and simplicity of the romantic songs he composed and often sang. Moustaki gave France some of its best-loved music by writing about 300 songs for some of the most popular n that country, such as Édith Piaf, Dalida, Françoise Hardy, Yves Montand, Barbara, Brigitte Fontaine, Herbert Pagani, France Gall, Cindy Daniel, Juliette Gréco, Pia Colombo, and Tino Rossi, as well as for himself.
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She attended a paid primary school for two years and then at age 7 transferred to the Communale School, where for the first time in her life, she was exposed to French. She was a good student and saw her education as a means to obtain better employment. Around the age of 9 or 10, Manette began to write poetry, encouraged by her neighbor, Jeanne de Kermadec, a poet who taught her poetic rhythm. She also studied the songs and rhythms of traditional Guadeloupean music and dances, like the gwoka, created with hand drums and often performed at rural musical performances, known as swarés léwoz.
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Puur's most noted roles were as Odette-Odile in Swan Lake in her 1953 debut, as the flower waltz soloist in Tchaikovsky's The Nutcracker(1953) and as Beatrice in Mikhail Chulaki's Imaginary fiance (1954). Noted roles included Esmeralda in the opera of the same name, the title role in the ballet Giselle, Sylphide in Chopiniana, Maria in The Fountain of Bakhchisarai, as well as others. She was known for her lyricism, poetic rhythm and romantic presentation and noted for her role to establish ballet as an art form in Estonia. In 2010, she was one of the featured artists in a play, Luikede järve, staged by choreographer Dmitri Hartsenko.
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In his study of poetic rhythm he argues that no rules of metre have yet been devised that have not been violated by John Milton and Percy Bysshe Shelley, who are usually regarded as exceptionally musical poets. This required to shift the focus of investigation from what deviations are permissible in metrics to the question whether a performance can be imagined or secured in which the conflicting patterns of language and versification can be perceived at the same time. He has developed a theory that enables him to investigate the auditory information that affects the reader's or listener's impression ("what our ears tell our mind"). This theory includes a theory of rhythmical performance, submitting recorded readings to an instrumental analysis.
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Western music inherited the concept of metre from poetry, where it denotes: the number of lines in a verse; the number of syllables in each line; and the arrangement of those syllables as long or short, accented or unaccented. The first coherent system of rhythmic notation in modern Western music was based on rhythmic modes derived from the basic types of metrical unit in the quantitative meter of classical ancient Greek and Latin poetry. Later music for dances such as the pavane and galliard consisted of musical phrases to accompany a fixed sequence of basic steps with a defined tempo and time signature. The English word "measure", originally an exact or just amount of time, came to denote either a poetic rhythm, a bar of music, or else an entire melodic verse or dance involving sequences of notes, words, or movements that may last four, eight or sixteen bars.
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In 2008, fascinated with the aesthetic possibilities of symmetrical patterning and tessellations, he shortened his moniker and began redirecting his focus towards working with and reinterpreting the language of traditional tile design, and that of the Portuguese tin-glazed ceramic azulejo in particular. Effortlessly blending these two seemingly-irreconcilable visual idioms, his current practice seeks to combine traditional decorative elements with contemporary visual referents into new forms that reveal an impressive complexity and a masterful attention to detail. If, on the face of it, his work in small- and medium-sized tile panels, large-scale stencil-painted murals, and print editions might seem simply a pastiche of classic formalism, a closer inspection rewards the viewer with a chaotic world of unequivocally original motifs and characters brimming with irony and humour. Creating balance and harmony from symmetrical repetitions, a build-up of layers and techniques of visual illusion such as trompe-l'œil, his multi-layered patterned compositions produce a poetic rhythm that plays with the viewer's perception and the (multiple) possibilities of interpretation.
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Poetry scholar Derek Attridge describes how this works in his book Poetic Rhythm – "rap lyrics are written to be performed to an accompaniment that emphasizes the metrical structure of the verse". He says rap lyrics are made up of, "lines with four stressed beats, separated by other syllables that may vary in number and may include other stressed syllables. The strong beat of the accompaniment coincides with the stressed beats of the verse, and the rapper organizes the rhythms of the intervening syllables to provide variety and surprise". The same technique is also noted in the book How to Rap, where diagrams are used to show how the lyrics line up with the beat – "stressing a syllable on each of the four beats gives the lyrics the same underlying rhythmic pulse as the music and keeps them in rhythm ... other syllables in the song may still be stressed, but the ones that fall in time with the four beats of a bar are the only ones that need to be emphasized in order to keep the lyrics in time with the music".
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