https://docdrop.org/pdf/Love---2013---Subliminal-dissonance-or-consonance-Two-views--da05l.pdf/

Subliminal dissonance or "consonance"? Two views of jazz meter

Love

2013

https://drive.google.com/file/d/1PCGH6CZksm7b5rfQwgI5oW0uUWinOLg6/view?pli=1

The South African Blue Notes, Bebop, Mbaqanga, Apartheid, and he Exiling of a Musical Imagination

https://docdrop.org/pdf/Waters---1996---Blurring-the-Barline-Metric-Displacement-in--66sbt.pdf/

Blurring the barline: metric displacement in the piano solos of herbie hancock Waters, Keith 1996

https://docdrop.org/pdf/Unknown---2021---Double-time-i--fshlh.pdf/

Double-time 2003

Accents: Contrast is created by means of highlighting certain elements of the music, either regularly or irregularly. When timbre or duration are not at play, accents are the only rhythmic criteria. Timbre: Contrast is produced by hearing/playing different tone colors in turn, either regularly or irregularly. When accents or duration are not at play, timbre is the only rhythmic criterion. Duration: Contrast is produced by the succession of unequal time val- ues. When accents or timbre are not at play, durations are the only rhythmic criteria. 16 As for meter, Arom adds that “it is in fact the most elementary manifestation of rhythm,” 17 made of identical durations with regular stress patterns. Fred Lerdahl and Ray Jackendoff suggest other definitions of the accent, of which they see three types:

TOWARD A PERCEPTUAL-COGNITIVE ACCOUNTOF DOUBLE-TIME FEEL IN JAZZ Voglewede, M.J. 2013

https://docdrop.org/pdf/Temperley---2000---Meter-and-Grouping-in-African-Music-A-Vie-5hqqa.pdf/

Meter and Grouping in African Music: A View from Music Theory Temperley, D. 2000

https://docdrop.org/pdf/Suwannakit---Unknown---The-Overview-Treatment-of-Odd-Meters--dh69q.pdf/

The Overview Treatment of Odd Meters in The History of Jazz Suwannakit, S 2014

The Good-Morrow has a basic iambic pentameter template, that is, there are five regular beats and ten syllables in each line except for the last line of each stanza which has twelve, so count as hexameters.

But there are odd exceptions here and there - some lines with an extra beat for example (11 syllables), others with trochees, spondees and anapaests, which alter rhythm and so bring added interest for the reader.

John Donne was famous for not completely yielding to the formality of poetry that was high valued during his time.

Source: Owlcation https://owlcation.com/humanities/Analysis-of-Poem-The-Good-Morrow-by-John-Donne

The first line of the stanza can be said with either 10 or 11 syllables, due to varying pronunciations of the word 'fire'. The rest are 11 syllables each. This stanza follows the rhyming pattern of its predecessors

The syllables in this stanza alternate between 10 and 11 for the lines that alternate rhymes (10-11-10-11), and the final rhyming couplet has 11 syllables in each line.

Each line in this stanza has 11 syllables. The final word in the first 4 lines (which alternate rhymes) has two syllables, while the rhyming couplet at the end of the stanza rhymes the final two words together.

Every 9th line in every stanza breaks the pattern and does not contain 10 syllables. They are all different amounts except for the second and forth stanza, which contain 6.

In this stanza the 5th, 6th, 8th and 9th line break meter.

In this stanza the 1st, 3rd, 7th, and 9th lines break the meter.

The first lines of the third and fourth paragraph have eleven syllables, in contrast to the rest of the poem which only has ten. In this stanza, the 3, 5,8 and 9th lines break the meter.

This line contains 12 syllables, and is the only 10th line that breaks the meter. The 6, 8, and 9 lines in this stanza break the meter.

With a few exceptions, most of the lines in the poem contain 10 syllables, and follow the iambic pentameter. In this stanza the 7th and 9th line break the meter.

Recording of Aubade done by the author, Phillip Larkin.

The stanzas in the poem are all ten lines with the following rhyme scheme, ABABCCDEED

The rhyme is forced here as the pronunciation of anywhere and here do not rhyme

The rhyme scheme breaks here, remorse and because do not rhyme

This part stands out due to it's almost verse-like rhyme and meter structure.

I lay on the floor / in the front parlor / watching her door.

It emphasizes the narrator's obsession with the girl and highlights the absurdity of the daily routine, as well as the playful nature of childhood romance.

Ahuja, A. (2020, June 16). The two-metre rule and other imperfect Covid-19 risk calculations | Free to read. https://www.ft.com/content/30adbfa1-178f-47e2-97a8-bd41ca590999

• • / - / - / - /<br> As virtuous men pass mildly away,

Iambic Tetrameter- This meter is consistent (as well as the Rhyme Scheme ABAB) throughout the poem in order to covey the message to Anne More that Donne's love for her is constant and never changing; this is used in order to comfort the upset More.

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This will need to be switched to Brea. The calls will be routed to them starting on 8/1/14.

"a metrical foot of one long syllable and three short syllables in any order."