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1
Lotman, Maria-Kristiina, and Mihhail Lotman. "The Accentual Structure of Estonian Syllabic-Accentual Iambic Tetrameter." Studia Metrica et Poetica 1, no. 2 (2014): 71–102. http://dx.doi.org/10.12697/smp.2014.1.2.04.
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This paper is part of a project aimed to analyse the rhythm of Estonian binary verse metres. It is the first complex analysis of Estonian syllabic-accentual iamb. The analysis is comprised of poetry by 20 prominent authors from the end of the 19th century and the beginning of the 20th century, and, all in all, more than 9000 verse lines. In order to find out which regularities are specific to poetry in general or to a particular poet, these data were compared with pseudoiambic segments extracted from prose. Differently from the earlier studies, stress is treated as a phenomenon of gradation, with altogether five different degrees of stress distinguished. The performed study showed that the rhythmical structure of iambic poems allows the clear distinction between two groups of poets, whom we conditionally call Traditionalists and Modernists.
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Lotman, Maria-Kristiina. "Equiprosodic translation method in Estonian poetry." Sign Systems Studies 40, no. 3/4 (2012): 447–72. http://dx.doi.org/10.12697/sss.2012.3-4.10.
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Equimetrical translation of verse, which conveys the metre of the source text, should be distinguished from equiprosodic translation of verse, which conveys the versification system of the source text. Equiprosodic translation of verse can rely on the possibilities of natural language (for instance, when presumably Publius Baebius Italicus created the Ilias Latina, he made use of the quantitative structure in Latin), but it can also employ an artificial system (cf., for example, the quantitative verse in Church Slavonic or English). The Estonian language makes it possible to convey the syllabic (based on the number of syllables), accentual (based on the number and configuration of accents) and quantitative (based on the configuration of durations) versification systems. In practice, combined types are most frequent, for instance, the ones in which both the syllable count and the configuration of accents is relevant; in Estonian, versification systems with the participation of all three principles are possible as well. Despite the contrast of quantity in Estonian, the transmission of the quantitative structure of ancient metrics still involves a number of difficulties which result from differences in the prosodic structures. The transmission of purely syllabic versification system has also been problematic: it is hard to perceive such structure as verse in Estonian and therefore it has often been conveyed with the help of different syllabic-accentual or accentual-syllabic verse metres. Although equiprosodic translation is not necessarily equimetrical, in actual translation practice it usually is so.
3
Proto, Teresa, and François Dell. "The structure of metrical patterns in tunes and in literary verse. Evidence from discrepancies between musical and linguistic rhythm in Italian songs." Probus 25, no. 1 (2013): 105–38. http://dx.doi.org/10.1515/probus-2013-0004.
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Abstract A first exploration of acceptable and unacceptable discrepancies between linguistic and musical rhythm in Italian songs has uncovered two kinds of discrepancies which do not have counterparts in literary verse: durational discrepancies between adjacent syllables and stress-beat misalignments that involve nonadjacent syllables. The latter type is explored in greater detail than the former. Our survey suggests that analogous misalignments are in principle impossible in literary verse composed in accentual or accentual-syllabic meters, because, on the one hand, the abstract metrical templates that characterize such meters are not anchored in measured time, and, on the other hand, they do not recognize more than two degrees of metrical prominence.
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Boykov, V. N. "A Context-Free Grammar of One Rhythmic Model of Russian Verse." Modeling and Analysis of Information Systems 19, no. 4 (2015): 154–67. http://dx.doi.org/10.18255/1818-1015-2012-4-154-167.
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A formal model of the Russian verse based on the accentual segmentation of its structure is offered and considered. A context-free grammar (in N. Chomsky’s sense) which generates correct rhythmic forms of the presented model is constructed.
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Petrov, Alexander. "Trochaic tetrameter in Russian folk spiritual verses of late tradition: Some issues of metrics and rhythmics." Voprosy Jazykoznanija, no. 3 (2022): 54. http://dx.doi.org/10.31857/0373-658x.2022.3.54-74.
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The article represents the first experience in analyzing the metrical and rhythmical organization of Russian folk spiritual verses written in trochaic tetrameter in the 19th–20th centuries. These verses existed not only orally, but in writing as well. The criteria for the selection of folklore material and its preparation for research are substantiated. The sample consists of 4447 lines, 93 texts were analyzed. The analysis is based on the principles of the “Russian method”. The purpose of the article is to test the hypothesis about different rhythmical structure of lines with feminine and masculine endings. According to this hypothesis, accentual dissimilation is progressive in feminine lines and regressive in masculine lines, which is also confirmed by some literary and folklore materials. The array of lines was differentiated by feminine and masculine rhymes; rhythmical tendencies were identifi ed on the basis of a separated analysis. The metrical repertoire of the bearers of the folklore tradition was revealed; the nomenclature of rhythmical forms was identified; accentual profi les were created; the data are presented in 25 tables. The research has shown that in lines of diff erent types the principle of regressive accentual dissimilation is observed, but in masculine lines dissimilation is more intense than in feminine lines. An important feature of the rhythm of spiritual poetry is the abundance of misplaced accents (emphatic syncopations). Taking into account the mobility of stress in folklore, I propose three models of rhythmical analysis. The fi rst model is based on the hypothesis of regular syncopations; the second one proposes the correction and exclusion of some cases of syncopations; the third one takes into account the regular shifts of stress to a metrically strong position, with elimination of all misplaced accents. As far as I could discover, an adequate characteristic of the rhythm of folklore verse does not require constant “fine tuning”. It is quite possible to use the basic model with checking the accentual variants by dictionaries.
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Petrov, Alexander. "Is there a three-ictic <em>taktovik</em> in the verse of Russian bylinas?" Voprosy Jazykoznanija, no. 4 (2023): 65. http://dx.doi.org/10.31857/0373-658x.2023.4.65-95.
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The paper attempts to clarify some theses of the accentual theory of folk versification in relation to bylinas — Russian epic songs. A brief overview of the research tradition from Vostokov to the modern time is presented, the most difficult problems of studying the metrics and rhythm of bylina are explicated. Criteria for selecting material for analysis are formulated. The sample is based on published texts from classical folklore collections of Kirsha Danilov, Gilferding, and Rybnikov — 10,111 lines (41 texts). An extensive audio material collected from a bearer of the folklore tradition is used for the study — 632 lines (36 fragments of bylinas). With the help of audio recordings, the features of epic accentuation, previously not fully reflected in published texts, were revealed. Based on them, a hypothesis was formulated about the alternation of lines with 3 and 4 stresses in the structure of an epic verse. Data extracted from audio recordings were extrapolated to texts whose exact sound is unknown. The most typical rhythmical variations of lines with 3 and 4 stresses are presented based on a complete separate metrical and rhythmical analysis. The results are presented in 15 tables. As far as I could discover, the shares of lines with 3 and 4 stresses are more or less balanced, and together normally make up more than 80 % of an epic text. I suggest that the three-ictic model of the epic verse arose as a result of separating text from melody and is a mere reflection of an artificial literary declamation. In reality, the verse of bylina is a taktovik (an accentual verse with mono-, di-, and trisyllabic inter-ictic interval) with alternation of lines with 3 and 4 stresses, variable anacrusis (the range of variation is normally 0–2 syllables), and dactylic or masculine (less often hyperdactylic) ending, with no rhyme.
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Duffell, Martin J. "Tennyson’s ‘metre of Catullus’: The ambivalent hendecasyllable." Language and Literature: International Journal of Stylistics 22, no. 1 (2013): 19–31. http://dx.doi.org/10.1177/0963947012469752.
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This article argues that quantitative verse can be no more than an intellectual exercise in English because of the language’s strong dynamic accent and tendency towards stress-timing. The case focuses on Tennyson’s experiment entitled ‘Hendecasyllabics’, which he described as being ‘in a metre of Catullus’. The article offers a detailed comparison of the supra-segmental features of Tennyson’s poem and its model and concludes that the English poem lacks an essential component of the Latin metre: a variable relationship between ictus and accent. As a result, Tennyson unwittingly composed lines with a regular accentual configuration, one that English poets had been studiously avoiding for 500 years. In contrast, poets of the Southern Romance languages have cultivated this type of line assiduously, and the article pursues the historical reasons for the divergence. It concludes that the difference is almost entirely due to individual aesthetic choices, and that this line structure, known as the endecasílabo melódico, is a viable option as a verse design for English poets.
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Skansgaard, Michael. "How Not to Introduce Blues Prosody:." Poetics Today 40, no. 4 (2019): 645–81. http://dx.doi.org/10.1215/03335372-7739071.
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This article delivers a two-pronged intervention into blues prosody. First, it argues that scholars have repeatedly misidentified the metrical organization of blues poems by Langston Hughes and Sterling Brown. The dominant approach to these poems has sought to explain their rhythms with models of alternating stress, including both classical foot prosody and the beat prosody of Derek Attridge. The article shows that the systematic organization of blues structures originates in West African call-and-response patterning (not alternating stress), and is better explained by models of syntax and musical phrasing. Second, it argues that these misclassifications — far from being esoteric matters of taxonomy — lie at the heart of African American aesthetics and identity politics in the 1920s and 1930s. Whereas literary blues verse has long been oversimplified with conventional metrics like “free verse,” “accentual verse,” and “iambic pentameter,” the article suggests that its rhythms arise instead from a rich and complex vernacular style that cannot be explained by the constraints of Anglo-American versification.
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Tsivinska, Yuliia. "“Mesopotamia” by Serhii Zhadan: Metrical and Rhythmic Parameters of Poetic Texts." Pitannâ lìteraturoznavstva, no. 109 (June 28, 2024): 43–57. http://dx.doi.org/10.31861/pytlit2024.109.043.
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The article analyzes the second part of S. Zhadan’s book “Mesopotamia”, “Clarification and Generalization”, which contains thirty poetic texts, from the point of view of versioning. In addition, the paper presents an interpretation of the book’s title that transfers it to Ukrainian basis and possibly reflects some details of the author’s biography. Mesopotamia is associated with Kharkiv, the city of S. Zhadan’s formation. The study offers a general picture of the metrical and rhythmic characteristics of the poems written in the sizes of the syllabic-tonic (iambic), tonic systems (dolnik, metrical, accented verse), and free verse. Also the article indicates the features of their interaction and combination in one text. Among the poems, there are also those that are considered transitional metrical forms and polymetrical constructions, one of which (the poem “And then she says”) combines not only with tonic metres but also the free verse. We raise the question of distinguishing between accentual verse and polymetrical construction on the basis of the quantitative ratio of lines of a particular size. The author makes an attempt to highlight specific features of the writer’s free verse, in particular, irregular rhyme, repetition, stylistic figures, division of syntactic units by means of ending pauses, which form the rhythm of poetry and emphasize its meaning. We substantiate their value and give examples of their use. The paper separately considers the issue of the stanzaic structure of couplets, which we reckon as conditional, since in such texts the concept of stanza has lost its features and is based mainly on the author’s vision. However, such a mosaic „stanza” is another tool that gives free verse a special rhythm. In conclusion, the article outlines the prospects for further research on the author’s versioning.
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Petrov, Alexander M. "FOLK METRE 5+5 IN RUSSIAN EPIC SPIRITUAL VERSES." Lomonosov Journal of Philology 47, no. 5, 2024 (2024): 157–69. https://doi.org/10.55959/msu0130-0075-9-2024-47-05-12.
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The paper focuses on the features of the metrical and rhythmical structure of the metre defined as 5+5 . The materials of the study are Russian epic spiritual verses. Texts for analysis were selected from academic publications and from archival sources by the method of continuous sampling (71 texts, 8827 lines). The purpose of the presented paper is to identify the extent of the distribution of this metre in the epic text: usually the 5+5 meter is associated with folk lyrics. As I was able to discover, the share of lines in the form of 5+5 is about 13 % . They are represented by 30 rhythmical variations, among which “dol’nik” type (an accentual verse with mono- and disyllabic interictic interval) predominates. The basis of the 5+5 metre in epic spiritual verses is the alternation of lines with 3 and 4 stresses. Also, I managed to detect structures with skipped stresses on ictic positions and lines with a shift of caesura (12 % ). In addition to published texts, I also used the archival audio recordings. An analysis of these sources revealed that when a text is performed orally to a melody, the accent structure of a line significantly changes. As far as I could discover, a word stress is never suppressed by a phrase accentuation. Also, in the entire corpus of materials, I managed to reveal the lines that can be conditionally classified as “derivatives” of the 5+5 scheme. These are lines with 11 syllables with additional particles, caesura extensions, etc. Their connection with a 5+5 form is subject to further study and argumentation. In the paper, the need to use precise methods of experimental phonetics is emphasized. A thorough study of “transitional” phenomena in the field of folklore metrics also seems promising.
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Ranchin, Andrey. "Joseph Brodsky’s Poem «San Pietro»: an Example of Analysis." Izvestia of Smolensk State University, no. 3 (51) (November 2, 2020): 5–22. http://dx.doi.org/10.35785/2072-9464-2020-51-3-5-22.
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The article considers the poem «San Pietro» (1977) by Joseph Brodsky. The paper analyzes the poem written by a free accentual verse and its metric features in their correlation with semantics: fuzziness of objects, indistinguishability of things in Venetian fog and the «fuzziness» in the metric syllabic-accentual basis of the text.
 The author traces features of the poem composition, which combines freedom and
 certain organizing principles. It is shown that the poem contains the key motifs for
 the alienation of I from its own past and the surrounding world (a description of the
 lyrical self as an anonymous guest, a hidden likeness of I to a can kicked by foot).
 Fog is one of the alienation signs.
 The poetics of the time in the poem «San Pietro» is characterized by the
 identification of the triad «the past – the present – the future», the elements of which
 correspond to the three-part structure of the text. For the lyrical hero, it is impossible
 to return to his own Petersburg / Leningrad past or to join the historical past.
 There is no genuine continuity between the past, the present and the future. Time (its
 symbols are sea and water) in the poem is characterized by contradictory properties:
 it seems to freeze, although it also moves forward (from two o'clock in the afternoon
 to evening twilight) and (in the lyrical I imagination) rushes back to the
 moment of the world creation. Water and images of sea inhabitants become signs of
 this prehistoric state. One of the implications of «San Pietro» is the legend in the Book of Genesis about the creation of the world by God. The poem depicts the almost colorless, invisible and soundless world that is similar to the still formless land like in the Bible.
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Blondel, Marion, and Christopher Miller. "Rhythmic structures in French Sign Language (LSF) nursery rhymes." Sign Language and Linguistics 3, no. 1 (2000): 59–77. http://dx.doi.org/10.1075/sll.3.1.04blo.
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Research over the past three decades has brought attention to various ways in which linguistic structures are exploited to build poetic form in sign languages. These include recurring patterns of phonological elements (similar to rhyme, alliteration or assonance) that play a role in the structure of verses and strophes, as well as uses of metaphor and modifications of the form of signs that contribute to an overall fluidity of movement distinct from non-poetic signed discourse. In this paper we concentrate our attention on the role of rhythmic structure and the ways in which it interacts with syntactic structure to build poetic form. Our data consist of nursery rhymes, either original LSF creations or adaptations from French nursery rhymes, which were composed by Deaf adults and children. This type of poetry, as a genre of oral literature, is essentially performance-related and is highly variable in form. Despite the difference in modality (oral vs. gestural), LSF and French nursery rhymes show similar characteristics (repetition of phonological units, non-significant gesture, similar subject matter etc.), and rhythmic structure is central to their overall structure. This paper isolates rhythmic templates in LSF nursery rhymes via the analysis of accentual prosody (speed, intensity and manner of movement) and compares the nursery rhymes with an equivalent corpus of non-poetic performances. This research is relevant to the question of the universality of infant rhythmic structure and the importance of nursery rhymes in first language acquisition.
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Liapin, Sergei, and Igor Pilshchikov. "“Ein Fichtenbaum steht einsam” and the typology of the Russian dolnik (following Osip Brik’s, Boris Jarcho’s and Andrei Fedorov’s remarks on the Russian translations from Heine)." Studia Metrica et Poetica 2, no. 1 (2015): 58–80. http://dx.doi.org/10.12697/smp.2015.2.1.03.
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This paper develops some of the ideas that were expressed at the meeting of the Translators’ Section of the Soviet Writers’ Union (28 December 1934) where Osip Brik’s talk on new Russian translations from Heinrich Heine was presented and discussed. Brik argued for equirhythmical translations of Heine’s dolniks and maintained that equimetrical translations are impossible due to the differences between the Russian and the German systems of verse. His opponents, on the contrary, argued for equimetrical translations and maintained that equirhythmical translations are impossible due to the differences between the accentual systems of the Russian and the German languages. Boris Jarcho, who presided the meeting, developed a theory, according to which every versification system is characterised by primary and secondary features. The primary features represent a determinist norm and should be reproduced in translation to the full extent, while the secondary features represent a statistical norm: they may be reproduced in a proportion that the language and the poetic tradition can afford and that is at the same time similar to the proportion found in the original text. The authors of the present paper discuss three Russian poetic translations of Heine’s celebrated “Ein Fichtenbaum steht einsam...” from the point of view of their equimetricity/equirhythmicity, and compare their metrical and rhythmical structures with various rhythmic types of the Russian dolnik.
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Viktoriia, Hahara. "CHARACTERISTICS OF THE UKRAINIAN DOLNYK (ORIGINS, DEVELOPMENT, AND RESEARCH OF ACCENTUAL VERSE IN UKRAINIAN VERSE THEORY BASED ON 20TH-CENTURY UKRAINIAN POETRY)." Annali d'Italia 61 (November 27, 2024): 74–77. https://doi.org/10.5281/zenodo.14231166.
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The Ukrainian accentual verse, which gained prominence in early 20th-century poetry, is a subject of extensive study by contemporary Ukrainian verse theorists. This article explores the trends and characteristics of one form of accentual verse, the dolnyk, using as an example the poem "Kozak Jamaica" by modern Ukrainian poet Yurii Andrukhovych, which was translated into Italian in 2022
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West, Kathleene. "Alliterative Accentual Verse, With Love." Prairie Schooner 77, no. 4 (2003): 28–29. http://dx.doi.org/10.1353/psg.2003.0153.
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Bjelčevič, Aleksander. "Osnove verzologije: iregularni verz in cezura." Jezik in slovstvo 61, no. 3-4 (2024): 91–109. http://dx.doi.org/10.4312/jis.61.3-4.91-109.
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We describe and define two concepts: irregular accentual-syllabic (syllabotonic) verse and caesura. Irregular accentual-syllabic verse is a type of poetic composition in which lines of the same rhythm (e.g., iambic) but very different lengths (e.g., 4, 5, 7, 8, 11, 14 syllables) follow each other in an unpredictable order and have stanzas of variable lengths. This is not yet free verse, as it preserves iambic, trochaic or amphibrachic, etc. rhythm. In accentual-syllabic and syllabic versification, caesura is an obligatory word boundary at a fixed place in every line of a poem (in Serbo-Croatian deseterac and its trochaic imitations, it is after the 4th syllable). Therefore, caesura is not a pause. Slovenian metres with caesura are: trochaic 8-, 10-, 12-, 14-, 15-, 16-syllable lines with caesuras after the 8-th syllable; Nibelungen verse has a caesura after the 7th syllable, iambic 12-syllable alexandrine after the 6th syllable, amphibrachic 11- and 12-syllable lines after the 6th syllable, etc., whereas iambic pentameter has no caesura.
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Duffell, Martin J. "THE TYPOLOGY AND ORIGIN OF ACCENTUAL VERSE." Rhythmica. Revista Española de Métrica Comparada, no. 2 (May 3, 2013): 67. http://dx.doi.org/10.5944/rhythmica.6402.
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Lotman, Mihhail. "Breaking the Syllabic-accentual Monotony." Studia Metrica et Poetica 2, no. 2 (2015): 102–22. http://dx.doi.org/10.12697/smp.2015.2.2.07.
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Ants Oras’s innovation was not confined to the sphere of language, he also has an important role in the enrichment of Estonian metrics and systems of versification. His sources were mainly the forms of different European poetic cultures, which he introduced in his translations. In the paper, two meters are studied, which Oras tried to create in his translation of Goethe’s Faust, in order to adequately convey the original’s rhythm. These verse meters are German national form, Knittelvers, and adoneus derived from ancient and medieval verse. One common characteristic for these meters is the breaking of syllabic-accentual monotony.
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Petrov, Alexander. "SPIRITUAL VERSES ABOUT TSAREVICH JOASAPH: PLOTS AND METRICAL MODELS." Antropologicheskij forum 17, no. 49 (2021): 88–131. http://dx.doi.org/10.31250/1815-8870-2021-17-49-88-131.
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The article considers the problem of the development of metrical forms of the cycle of folklore spiritual verses about Tsarevich Joasaph. Spiritual verses related to the literary tradition are used as supplementary material. The aim of the research is to trace the evolution of the metrics of folklore spiritual verses about Tsarevich Joasaph in the context of the history of Russian versification. The tasks of the research are the formation of a database of texts, differentiation of the texts into thematic groups, selection of method of work, and the analysis of folk and literary variants. The research methodology is determined by its complex nature, being at the intersection of folklore, linguistics, and literary studies. Taking into account the heterogeneity of the material, special methods are used for texts created within the framework of different systems of versification: syllabic, accentual, and syllabic-accentual. The entire corpus of texts consists of seven types of plots and can be divided into metrical groups depending on the time and the environment of their creation. The earliest known text dates from the 16th century; it is a free, non-rhymed accentual verse. A significant corpus of texts was created in the 17th century, in line with the literary syllabic system of versification; these are spiritual verses with 8 or 13 syllables per line. Some of these were assimilated by folk culture and subsequently lost their syllabic equality of lines, becoming close to the accentual system. Literary texts of the 18th–19th centuries are closer to the syllabic-accentual system; sometimes they include polymetric poetic forms. Folklore texts collected in the 19th–20th centuries are based mainly on the accentual system of versification (dolnik, taktovik, accentual verse); however, as we move towards the 20th century, syllabic-accentual tendencies also intensify in this area. In the 20th century, the tradition of spiritual poetry was based on syllabic-accentual models borrowed from the works of Russian classics. The long history of the existence of this poetic cycle is, in general, in line with the evolution of Russian versification. At the same time, if the syllabic-accentual verse has been formed since the 18th century in the literary tradition of spiritual poetry, then in folklore it spread relatively late. Reliable examples of syllabic-accentual versification are found in folklore spiritual verses about Tsarevich Joasaph from the second half of the 19th century.
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Lotman, Maria-Kristiina. "Prosody and versification systems of ancient verse." Sign Systems Studies 29, no. 2 (2001): 535–61. http://dx.doi.org/10.12697/sss.2001.29.2.08.
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The aim of the present study is to describe the prosodic systems of the Greek and Latin languages and to find out the versification systems which have been realized in the poetical practice. The Greek language belongs typologically among the mora-counting languages and thus provides possibilities for the emergence of purely quantitative verse, purely syllabic verse, quantitative-syllabic verse and syllabic-quantitative verse. There is no purely quantitative or purely syllabic verse in actual Greek poetry; however, the syllabic-quantitative versification systems (the Aeolian tradition) and quantitative-syllabic versification systems (the Aeolian tradition) were in use. The Latin language, on the other hand, has a number of features, which characterize it as a stress-counting language. Since at the same time there exists also the opposition of short and long syllables, there are preconditions for the syllabic, accentual and quantitative principle, as well as for the combinations of these. The Roman literary heritage shows examples of purely accentual, syllabic-quantitative, quantitative-syllabic, as well as of several other combinatory versification systems.
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Petrov, Alexander M. "Russian folk verse and the main approaches to its study." Slovo.ru: Baltic accent 15, no. 4 (2024): 184–203. http://dx.doi.org/10.5922/2225-5346-2024-4-13.
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This paper addresses general issues in the study of Russian folk verse. A critical examination of the major theories related to this topic highlights their significance in the history of Russian versification. The unique characteristics of folk verse, which exist in an oral-musical form, necessitate the development of specialized methods for its analysis. While traditional studies of versification offer a variety of methods and resources for analysing different forms of literary verse, they often fall short when applied to folklore verse. A flexible approach to the study of folk poetry is essential, given the diversity of folklore forms. In addition to classical folk accentual verse, many genres adhere to the principles of syllabic-accentual versification. Methods for analysing syllabic texts from other Slavic cultures may also be relevant. Each genre must be contextualized within its historical framework; thus, folklore requires a differentiated analytical approach. Furthermore, the degree of convergence with musicology can vary: in verse linguistics, traditional versification methods may often suffice. The approach based on counting beats holds particular promise, as it relates to the concepts of isochronic metrics, which remain underexplored in the field of Russian folk versification.
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Lotman, Mihhail. "Русский стих: метрика, системы стихосложения, просодия (генеративный подход) [Russian verse: Its metrics, versification systems, and prosody (Generative synopsis)]". Sign Systems Studies 28 (31 грудня 2000): 217–41. http://dx.doi.org/10.12697/sss.2000.28.12.
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Russian verse: Its metrics, versification systems, and prosody (Generative synopsis). In the article the general verse metre theory and its application to Russian verse is adressed, allowing us, thereby, to observe not the single details, but only the most general characteristics of verse. The treatment can be summarised in the five following points: 1) the basis for the phenomenon of verse is its metrical code: the special feature of verse text is the presence of its metre (this feature is common to every verse type, to the most regular verse, as well as to vers libre); 2) the nature of verse metre is extralinguistic, there is no metre within a language, the latter can only induce certain limitations in choosing a metre; 3) metre is an abstract chain of translational symmetry, the elementary period of which is called verse foot (i.e. firstly, verse feet are contained in every versification system, incl. syllabic verse and free verse, and, secondly, verse feet can not be defined in terms of natural language, e.g., as the combination of short and long or accented and unaccented syllables).4) in verse text, metre appears through the medium of natural language: verse metre is coded in terms of natural language; the nature of its codification is detennined by the versification system. Hence, every verse metre can be realised in different versification systems, e.g. iambus can occur in syllabic-accentual, syllabic-quantitative, and some other versification systems;5) verse prosody is a consequence of the influence of verse metre on the prosodies of language; the range of transformation of a language system by verse metre extends from the unification of the strength of verse accents in accentual verse to such artificial formations as the origination of long syllables in languages which lack phonological quantity.
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Ó Murchú, Tomás L. "Dán aiceanta ón ochtú haois déag luath tiomnaithe do dhochtúir leighis: A fhortail fhir don bhorbrhuil na bhféinniodh mear (Muircheartach Ua Gríofa)." Celtica 35 (2023): 245–54. http://dx.doi.org/10.58480/scs-5juy5-3bvzw.
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An early eighteenth-century greeting in accentual verse by Muircheartach Ua Gríofa to a medical doctor, Muircheartach Ó Dubhagáin, wishing him success and resilience as he embarks on an unspecified mission abroad.
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Orlitsky, Yuri. "VERSE INNOVATIONS OF APOLLON GRIGORIEV AS A TRANSLATOR: ACCENTUAL VERSE, VERS LIBRE, PROSE MINIATURE, PROSIMETRUM, NEW SYLLABICS." Lomonosov Journal of Philology, no. 6 (March 19, 2023): 171–84. http://dx.doi.org/10.55959/msu0130-0075-9-2022-6-171-184.
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The article deals with innovations in the fi eld of versification technique used by Apollon Grigoriev in his poetic translations from German, English and Ancient Greek. These are accentual verse (dolnik), metrical composite, free verse, new syllabics, as well as prose miniature used to translate lyrical poetry, and prosimetrum, with the help of which the poet sought to accurately convey the rhythmic features of the works by Heine, Goethe, Shakespeare and Sophocles.
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Bullock, Barbara E. "Quantitative verse in a Quantity-Insensitive language: Baïf's vers mesurés." Journal of French Language Studies 7, no. 1 (1997): 23–45. http://dx.doi.org/10.1017/s0959269500003355.
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AbstractMany Renaissance poets attempted to imitate classical verse metrics in their own vernaculars. This article examines the quantitative metrical verse of the French poet Baïf who is often criticized for producing unscannable verse using an incomprehensible phonetic orthography. This paper argues that the poet's rules for encoding length, while hermetic, are surprisingly consistent. It is demonstrated that Bai¨f's metrics derive largely from a system that is accentual with his orthography permitting the poet to encode quantitative distinctions that coincide with the metre. This article argues that Baïf's metrical verse provides us with a rare example of how prosody and rhythm in sixteenth century France might have been perceived.
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Bjelčevič, Aleksander. "Kako poučevati verzologijo: silabotonična metrika in ritmika." Jezik in slovstvo 60, no. 3-4 (2024): 23–33. http://dx.doi.org/10.4312/jis.60.3-4.23-33.
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Students have trouble determining accentual-syllabic rhythm because there is rarely a complete correspondence between meter and accent in Slovenian poetry. This problem can be solved with simple statistics and modified definitions of iamb, trochee, dactyl, amphibrach and anapest. The symbols– and U do not, therefore, represent accented and unaccented syllables, but rather indicate that accented syllables occur often (−) and rarely (U), respectively, in these metrical positions. The proper definition of, for example, iamb is therefore “poetic meter where even metrical positions bear significantly more accented syllables than odd positions”. Statistics can also explain unaccented masculine rhyme and make the difference between accentual-syllabic verse and prose visible.
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Hahara, Victoria. "VASYL HOLOBORODKO – A MASTER OF NON-CLASSICAL VERSE FORMS: VERSIFICATION ANALYSIS." Bulletin of Taras Shevchenko National University of Kyiv. Literary Studies. Linguistics. Folklore Studies, no. 2(34) (2023): 21–24. http://dx.doi.org/10.17721/1728-2659.2023.34.04.
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The article explores the creative work of Vasyl Holoborodko, particularly his book of poems "An Apple of Good News". This topic has not been extensively researched in Ukrainian literary studies, although Holoborodko's work has been studied in other aspects, such as folklore, in Yulia Shutenko's dissertation. This article specifically focuses on the analysis of non-classical verse forms in the author's poetry. According to one accepted classification, non-classical verse is divided into dactylic, taktovyk's, and accentual verse, depending on the change in the number of intrastressed syllable intervals. These forms have different productivity in Ukrainian poetry in general and in the work of Vasyl Holoborodko in particular. The polymetric superform of the non-classical verse is the vers libre, and Vasyl Holoborodko is the most productive author of this form among his contemporaries. This is related to the feature of his work as folklore trend. Among the examples of poetry presented in the article, there are samples that refer to the folklore sources of his poetry, spoken folk verse, which is the source for non-classical verse forms, and particularly vers libre. Additionally, there are interesting examples of dactylic, taktovyk's, and accentual verse, which are analyzed in detail in the article, including the poems "Spring", "Mother was cleaning potatoes", "Linen Birds", and "Hungry tongues tied in a knot...". The analysis of these pieces of poetry allows us to trace the tendencies of his creative work, such as a tendency toward irregularity, a slight predominance of taktovyk verses in non-vers libre verses, folklore as a leading principle both in vers libre and in the rest of the poems, and the alternation of expressive and meditative motifs in poetic creation, the reproduction of conversational speech and folk verse rhythms in the poetry, the transmission of unique features of the Ukrainian language and authentic imagery. The article is a part of an author's larger study of non-classical verse in Ukrainian poetry of the second half of the 20th century.
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Qojayeva, Shahla. "Accentual Structure in Spoken English—Has It Been Overanalyzed?" International Journal of English Linguistics 6, no. 3 (2016): 200. http://dx.doi.org/10.5539/ijel.v6n3p200.
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<p>Pronouncing words with the correct stress plays an important role in communication. This has been investigated by different phoneticians, Torsuyev and Gibson amongst others, who have analyzed the different accentual patterns of English words and defined a large number of different accentual patterns. In this paper the author experimentally challenges the concept of complex accentual structures by investigating the pattern of standard British English speakers. Using the PRAAT program, a software package which is widely used in phonetic experimental research, the fundamental parameters of frequency of tone, intensity and time were measured and used to define accentual patterns of polysyllabic words as spoken by two modern standard English speakers. This study demonstrated that polysyllabic words, phrases and abbreviations exhibit only four distinct accentual-syllabic patterns. This is in direct contrast to previous work and demonstrates that accentual structure in spoken English has been over analyzed and made unnecessarily complex.</p>
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Tooming, Aile. "Verse semantics of some metres in Uku Masing's poetry." Sign Systems Studies 40, no. 1/2 (2012): 177–91. http://dx.doi.org/10.12697/sss.2012.1-2.09.
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The article introduces the results of a semantic analysis of Uku Masing's (1909– 1985) early poetry (1926–1943). The metres analyzed are syllabic-accentual trochaic tetrameter, trochaic pentameter, iambic pentameter and dactylic, logaoedic and polymetric hexameters. In each text the textual communicative perspective as well as motifs and tropes of each verse line were examined. The semantic differences and colourings of the metres are most evident in the way of expression, in the viewpoint.
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Ozerov, Pavel. "Information structure and intonational accent in Burmese." Linguistics of the Tibeto-Burman Area 43, no. 2 (2020): 191–224. http://dx.doi.org/10.1075/ltba.20009.oze.
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Abstract It tends to be assumed that tonal languages do not make use of intonational tones and accent location for the purpose of conveying information structural aspects of the utterance. This study of read-aloud stories in colloquial Burmese shows that this tonal language does resort to this sort of intonational means for information-structuring reasons. The prosody of Burmese exhibits identifiable intonational patterns, which function on the level of accentual phrases. An accentual phrase constitutes the basic prosodic unit, and it is there that we find the real interaction of information structure, intonation and tone. Accentual phrases are organised around a single accent, the location of which depends on information structural factors. Sentences can consist of a single accentual phrase or a few phrases, while the exact partition into such phrases is also motivated by information- and discourse-structuring considerations.
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Lotman, Rebekka. "The patterns of the Estonian sonnet: periodization, incidence, meter and rhyme." Studia Metrica et Poetica 4, no. 2 (2018): 67–124. http://dx.doi.org/10.12697/smp.2017.4.2.04.
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The first sonnets in Estonian language were published almost 650 years after this verse form was invented by Federico da Lentini in Sicily, in the late of 19th century. Sonnet form became instantly very popular in Estonia and has since remained the most important fixed form in Estonian poetry. Despite its widespread presence over time the last comprehensive research on Estonian sonnet was written in 1938.This article has a twofold aim. First, it will give an overview of the incidence of Estonian sonnets from its emergence in 1881 until 2015. The data will be studied from the diachronic perspective; in calculating the popularity of the sonnet form in Estonian poetry through the years, the number of the sonnets published each year has been considered in relation to the amount of published poetry books. The second aim is to outline through the statistical analyses Estonian sonnets formal patterns: rhyme schemes and meter. The sonnet’s original meter, hendecasyllable, is tradionally translated into Estonian as iambic pentameter. However, over the time various meters from various verse systems (accentual, syllabic, syllabic-accentual, free verse) have been used. The data of various meters used in Estonian sonnets will also be examined on the diachronic axis. I have divided the history of Estonian sonnets into eight parts: the division is not based only on time, but also space: post Second World War Estonian sonnet (as the whole culture) was divided into two, Estonian sonnet abroad, i. e in the free world, and sonnet in Soviet Estonia.The material for this study includes all the published sonnets in Estonian language, i.e almost 4400 texts.
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HILEY, DAVID. "The music of prose offices in honour of English saints." Plainsong and Medieval Music 10, no. 1 (2001): 23–37. http://dx.doi.org/10.1017/s0961137101000031.
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Some basic stylistic features of ten prose offices for English saints are considered. The oldest is that for St Cuthbert (probably c. 930). Others are for Dunstan of Canterbury, Edmund of East Anglia, Ethelwold of Winchester, Kyneburga, Kyneswytha and Tybba of Peterborough, Mildred of Thanet, Oswald of Northumbria, Oswald of Worcester, Swithun of Winchester, and Wulfstan of Worcester. All were probably composed earlier than the office for Thomas of Canterbury (soon after 1170), which with its rhymed, accentual verse text marks a new type of office. Important musical features of these offices include the deployment of chants in modal order, tonality that relies on a framework of finalis and fifth (also the upper octave and lower fourth), cadences approached from the note below, the use of responsory verse tones, and formulaic melodies.
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Stewart, Devin J. "Divine Epithets and the Dibacchius: Clausulae and Qur'anic Rhythm." Journal of Qur'anic Studies 15, no. 2 (2013): 22–64. http://dx.doi.org/10.3366/jqs.2013.0095.
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Scholars of the Arabic rhetorical tradition and commentators on the rhetorical aspects of the Qur'an made important observations regarding the verse-final word (al-fāṣila) in Qur'anic verses, which in most cases corresponds to the final metrical foot of the verse. They noted when its morphological pattern (wazn, ṣīgha) either matched or did not match those of the verse-final words in adjacent verses and also discussed the deviations from ordinary grammar, syntax, morphology and style affecting these verse-final words that occurred for the sake of rhyme and rhythmical parallelism. Classical rhetoricians such as Cicero and Quintilian, in contrast, examined the two final feet of periods in Latin oratory, suggesting that certain combinations of feet were preferable on the grounds that they provided for a satisfactory closing cadence. Applying their methods to the Qur'an, this study examines verses and passages in which metrical considerations constrain penultimate feet, identifies common verse-final metrical patterns, and points out cases in which the syntax, idioms and style have been altered for the sake of rhythm. This exercise suggests that while the basic prosody of Qur'anic sajʿ is accentual, based on the number of stresses in adjacent verses, quantitative rhythmical parallelism becomes more important at the ends of verses and often includes penultimate feet.
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Pilshchikov, Igor A. "Author-coined terminology in Russian verse theory: the formalist legacy." Slovo.ru: Baltic accent 15, no. 4 (2024): 135–46. http://dx.doi.org/10.5922/2225-5346-2024-4-9.
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Any system of terminology serves as a map of the field within which it is employed. The history of terminology, as an integral component of intellectual history, offers valuable insights for methodological reflection. It often prompts a reevaluation of specific issues by returning to their origins and rekindling potential implications and developments that were set aside in the course of the subsequent evolution of the discipline. This paper focuses on several terms that emerged during the formative decades of Russian verse theory (1910s and 1920s). These include: ritmicheskii kursiv [rhythmic italics], a term coined by Mikhail Shtokmar, which became common after the works of Kiril Taranovsky and Mikhail Gasparov; slovorazdel [word boundary], a term coined by Osip Brik, which has lost its association with Formalist terminology in modern-day use; and, eventually, dol’nik [strict accentual verse], one of the most debated concepts in Russian verse studies (the difference between this concept and the related but defunct concept of pauznik [pause-based verse] is also discussed). The concluding section of the article is devoted to the history of the overarching term for verse studies, stikhovedenie (a calque of the German Verslehre). The study of versification terminology allows us to more effectively develop modern verse theory, which dates back in many respects to the polemics between the Russian Formalists and the Symbolists.
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Патроева, Наталья. "К вопросу о силлабической системе стихосложения: поэтическая практика Феофана Прокоповича". СЛОВО.РУ: БАЛТИЙСКИЙ АКЦЕНТ 16, № 1 (2025): 140–66. https://doi.org/10.5922/2225-5346-2025-1-9.
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Исследование посвящено анализу акцентной архитектоники изосиллабическихпроизведений Феофана Прокоповича. Основной целью предпринятого анализа былапроверка гипотезы о постепенном формировании силлабо-тонической системы внедрах слоговиков — гипотезы, не нашедшей поддержки в трудах многих стиховедов,которые настаивали на революционном скачке в области российской версификации,произошедшем благодаря выходу в свет трактата Василия Тредиаковского (1735).В исследовании также осуществлено сопоставление теоретических рекомендаций поэтики и риторики Прокоповича с его собственными версификационными поисками.Наиболее популярным в поэзии Феофана, как и виршевиков — его предшественников исовременников, — является тринадцатисложник, жанрово и тематически разнообразный (ода, эпиграмма, надпись, стихотворения «на случай», часть цикла шутливыхстихов), однако менее других типов слоговиков метрически упорядоченный и максимально разнообразный в расстановке акцентов, которая активно формирует «инвертированный ритм», описанный А.П. Квятковским и наименее склонный к ритму«константному». Несколько менее употребительны в лирике Феофана одиннадцатисложники (эпитафия, переложения псалмов, послание, эпиграмма, стихотворение «наслучай»), редки восьмисложники, семисложники, единственным примером представлендесятисложник. Маргинальными оказываются «неправильные» строки в изосиллабических стихах, что наряду с увеличением количества повторяющихся акцентных схем встихотворениях Феофана говорит о высоком развитии виршевой техники в послепетровскую эпоху.Нормы будущей силлабо-тонической системы постепенно, медленно, но неуклонноскладывались в недрах виршевой поэзии. Так, Феофановы 11-, 10- и 8-сложники демонстрируют высокую (доходящую до степени идеальных хореических, ямбических, анапестических и дактилических строк) степень ритмической упорядоченности, поддерживаемой анафорическими повторами, внутренними рифмами, редкостью межстиховых переносов, что в совокупности сближает ритм и интонацию элегий, кантов и песен Прокоповича с напевным силлабо-тоническим стихом, в то время кактринадцатисложники и некоторые шутливые гетеросиллабические вирши насыщеныразговорными интонациями. Результаты проведенного анализа подтверждают реформаторскую роль Феофана Прокоповича в области упорядочения силлабическойверсификации, эволюционировавшей в направлении метротоники.
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Klesnilová, Kristýna, Karel Klouda, Magda Friedjungová, and Petr Plecháč. "Automatic Poetic Metre Detection for Czech Verse." Studia Metrica et Poetica 11, no. 1 (2024): 44–61. http://dx.doi.org/10.12697/smp.2024.11.1.02.
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Metrical analysis of verse is an essential and challenging task in the research on versification consisting of analysing a poem and deciding which metre it is written in. Thanks to existing corpora, we can take advantage of data-driven approaches, which can be better suited to the specific versification problems at hand than rulebased systems. This work analyses the Czech accentual-syllabic verse and automatic metre assignment using the vast and annotated Corpus of Czech Verse. We define the problem as a sequence tagging task and approach it using a machine learning model and many different input data configurations. In comparison to this approach, we reimplement the existing data-driven system KVĚTA. Our results demonstrate that the bidirectional LSTM-CRF sequence tagging model, enhanced with syllable embeddings, significantly outperforms the existing KVĚTA system, with predictions achieving 99.61% syllable accuracy, 98.86% line accuracy, and 90.40% poem accuracy. The model also achieved competitive results with token embeddings. One of the most interesting findings is that the best results are obtained by inputting sequences representing whole poems instead of individual poem lines.
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Bednarczyk, Anna. "Tłumaczenie eksperymentu – dwa wiersze Daniiła Charmsa w przekładzie Wiktora Woroszylskiego." Między Oryginałem a Przekładem 30, no. 1/63 (2024): 35–52. http://dx.doi.org/10.12797/moap.30.2023.63.02.
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TRANSLATION OF THE EXPERIMENT – TWO POEMS BY DANIIL KHARMS TRANSLATED BY WIKTOR WOROSZYLSKI The article concerns two poems by Daniil Kharms (Нéтеперь and Фадеев, Калдеев и Пепермалдеев…) translated by Wiktor Woroszylski (Nieteraz and Fadiejew, Kałdiejew i Piepiermałdiejew…). This translation was considered in the context of a poetic experiment used by the Russian author. On the one hand, free verse (Nieteraz) and on the other hand, accentual-syllabic verse (Fadiejew…) were compared to their translations. Irrespective of the form, both the striving to reproduce the absurdity characteristic of Kharms and smoothing out the non-normative punctuation of the original can be noticed in Woroszylski’s translations. In addition to the conclusions regarding the decision of a particular translator, attention was also drawn to the need of taking into account the characteristics of a given text (experiment and absurdity) and the relationship between the translation and the literature in a given period of time.
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Barrett, Sam. "LATIN SONG AT THE ABBEY OF SANKT GALLEN FROM C. 800 TO THE LIBER YMNORUM." Early Music History 38 (September 11, 2019): 1–50. http://dx.doi.org/10.1017/s0261127919000068.
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New light is shed on the song culture of Sankt Gallen almost a century before its earliest notated sources through consideration of the poetic section of a manuscript copied at the Abbey shortly after the year 800, i.e. the second part of Leiden, Universiteitsbibliotheek Vossianus Lat. Q. 69. The predominantly Merovingian accentual Latin verse (rhythmi) and metrical verse by the late-antique poet Prudentius (his Liber Cathemerinon and Liber Peristephanon) were written out in song forms. It is newly proposed that Prudentius’ verse from the Liber Peristephanon was arranged into a liturgical cycle. The poetic section of the Leiden manuscript is accordingly understood as a collection of songs, which prompts reflection on the way in which earlier sung versus at Sankt Gallen may have provided models for the later Liber ymnorum. Witnesses to the song culture of Sankt Gallen in the first half of the ninth century are re-examined and a leading role during this period for the nearby Abbey of Reichenau is proposed. Finally, it is suggested that Iso’s advice to Notker that singulae motus cantilenae singulas syllabas debent habere was at least partly informed by the existing tradition of sung versus at both abbeys.
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Wachtel, Michael. "Charts, Graphs, and Meaning: Kiril Taranovsky and the Study of Russian Versification." Slavic and East European Journal 59, no. 2 (2015): 178–93. http://dx.doi.org/10.30851/59.2.001.
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The present paper reviews a classic work of scholarship on Russian verse, Kiril Taranovsky’s Russian Binary Meters. The analysis demonstrates that the two sections of the book are tacitly at odds with each other, and that the more famous second part (on “regressive accentual dissimilation,” and more generally the evolution of rhythmic patterning in various meters) does not fully take into account the observations of the first part (on accentuation in Russian verse). In particular, two elements are missing from the second part: the role of hypermetrical stress and the relative strength of stresses on strong syllables. Taranovsky recognized these phenomena, but they are nowhere reflected in his statistical data and conclusions, presumably because to take them into account would require an element of subjectivity. Taranovsky and his followers were proud that they could produce verifiable (repeatable) results. However, these results can only be repeated by scholars who agree on the same strict set of rhythmic conventions. The author of this essay argues that these conventions are oversimplifications. By omitting the question of hypermetrical stress, Taranovsky ignores some of the most important and memorable lines of Russian poetry. And by disregarding the question of relative stress, he creates an “acoustical” model of poetry that in no way corresponds to how it is actually recited. The paper ultimately suggests that scholars of verse should be more concerned with poetry as performance and less with the attempts to turn verse rhythm into an exact science.
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Ragaišienė, Vilija. "Tendencies of the accentuation of polysyllabic nouns of the West Aukštaitian of Kaunas in the written sources of the 1950s and 1960s." Lietuvių kalba, no. 13 (December 20, 2019): 1–19. http://dx.doi.org/10.15388/lk.2019.22489.
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The article analyses the dialectal material collected in the area of the West Aukštaitian of the Kaunas subdialect in the written sources of the 1950s and 1960s at the Dialect Archive of the Geolinguistic Centre of the Institute of the Lithuanian Language. Based on the data of the written sources, the goal is to describe the accentuation peculiarities of the polysyllabic nouns of the West Aukštaitian of the Kaunas subdialect in the written sources of that time, to discuss their accent models and to establish the accentuation tendencies of this subdialect. After the research was completed it was established that there is a tendency in the West Aukštaitian of the Kaunas subdialect to stress polysyllabic suffixed nouns according to three accentual models: 1) fixed, 2) mobile and 3) fixed-mobile. The author of the article is of the opinion that the accentual variance of parallel derivatives with suffixes could have been determined not by one factor, but by a set of factors. The appearance of accentual variants is linked to semantics, the accentual and semantic model of two plurals, the accentual variance of the root words, the soft ending of the stem of words and is explained by the stress analogy of the same type of word formation. The author surmises that the phenomena of oxytogenesis and baritogenesis in the subdialect under research could have worked by the principle of structure. The accentuation of some suffixes (e.g., -iena and -ėja) can demonstrate the change of the accentual models in the Aukštaitian subdialect – the movement of the mobile accentuation model from the South Aukštaitian subdialect in the direction of the North.
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Bjelčevič, Aleksander. "Slovenski verz od srednjega veka do Prešerna." Jezik in slovstvo 65, no. 3-4 (2024): 55–84. http://dx.doi.org/10.4312/jis.65.3-4.55-84.
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The article presents the metrical and strophic repertoire, the rhythm and rhyme of religious songs from the Middle Ages to the end of the eighteenth century, addressing the Latin and German origins of this repertoire, the internationality of church songs, the gradual transformation from syllabic verse to accentual-syllabic, and the influence on the strophic repertoire of secular songs from Janez Dev to France Prešeren (from the second half of the eighteenth century to first half of the nineteenth century). Over the centuries, church songs have created dozens of stanzaic types, some very complex, and only the most common and simplest types have come into folk and secular song, such as long metre, Romanzenstrophe, stabat mater stanza and Hildebrand’s stanza.
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Schramm, Gene M., and M[ichael] O'Connor. "Hebrew verse Structure." Language 61, no. 2 (1985): 473. http://dx.doi.org/10.2307/414157.
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Woch, Joanna. "Методика обучения русскому ударению в польской аудитории – история и перспективы". Linguodidactica 27 (2023): 263–76. http://dx.doi.org/10.15290/lingdid.2023.27.18.
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The article focuses on two main methods of teaching word stress to Polish students: imitation and the grammar method. Imitation, based on repeating words, phrases and sentences with correct word stress, is the dominant method of teaching Polish students. However, this method does not seem to be effective in acquiring orthoepic habits since it is not based on characteristic features of the Russian accentual system. The research indicated that it is necessary to compare and analyse Russian and Polish accentual systems to eliminate mother tongue interference to master correct Russian pronunciation. Therefore, using the grammar method in teaching Russian word stress is a necessity. This method allows for teaching rules of stress in Russian because it uses word formation characteristics and the morphemic structure of words. It is the only effective way of learning accentual patterns as it can develop the habit of conscious accentuation based on structured rules and regularities, and improve and correct Russian pronunciation in general.
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Cornelius, Ian. "The Text of the ABC of Aristotle in the ‘Winchester Anthology’." Anglia 139, no. 2 (2021): 400–418. http://dx.doi.org/10.1515/ang-2021-0026.
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Abstract The Middle English ABC of Aristotle is an alliterative abecedary poem that survives in fifteen manuscript copies dating between the mid-fifteenth and early sixteenth centuries. The most eccentric copy, bearing the greatest number of unique textual variants, is in London, British Library, Additional 60577, a commonplace book and miscellany of verse and prose known today as the ‘Winchester Anthology’. The Winchester copy of the ABC of Aristotle is distinguished from all others by changes to vocabulary, idiom, and prosody. The result is a unique redaction, illustrating the kind of literary composition that could be expected to grow out of late medieval English grammar schools. The Winchester redaction also expresses a shift in prosodic allegiance. The traditional alliterative line is subtly reshaped into an accentual-syllabic form.
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Lotman, M.-K., and M. Lotman. "THE QUANTITATIVE STRUCTURE OF ESTONIAN SYLLABIC-ACCENTUAL TROCHAIC TETRAMETER." Trames. Journal of the Humanities and Social Sciences 17, no. 3 (2013): 243. http://dx.doi.org/10.3176/tr.2013.3.03.
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Patroeva, Natalia V. "On the question of the syllabic system of versification: the poetic practice of Theophan Prokopovich." Slovo.ru: Baltic accent 16, no. 1 (2025): 140–66. https://doi.org/10.5922/2225-5346-2025-1-9.
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The study is devoted to the analysis of the accentual architectonics of the isosyllabic works of Theophan Prokopovich. The primary objective of this analysis was to examine the hypothesis regarding the gradual emergence of the syllabo-tonic system within the framework of syllabic verse. This hypothesis challenges the views of numerous scholars of versification, who argue for a revolutionary shift in Russian poetic tradition, attributed to the publication of Vasily Trediakovsky's 1735 treatise. Additionally, the study aims to compare the theoretical recommendations outlined in Prokopovich's poetics and rhetoric with his own experiments in versification. The most common form in Theophan's poetry, as well as in the works of the Virsheviks—his predecessors and contemporaries—is the thirteen-syllable verse. This form is genre- and theme-diverse, appearing in odes, epigrams, inscriptions, occasional poems, and humorous poem cycles. However, it is less metrically ordered compared to other types of syllabic verse and exhibits the greatest diversity in accent placement. It actively demonstrates the "inverted rhythm" described by A. P. Kvyatkovsky and shows the least tendency toward a "fixed" rhythm. Eleven-syllable verses, found in epitaphs, psalm adaptations, messages, epigrams, and occasional poems, are somewhat less common in Theophan's lyrics. Octosyllabic and heptosyllabic verses are rare, while a single example of a decasyllabic verse is present in his body of work. The "incorrect" lines in isosyllabic verses turn out to be marginal, which, along with the increase in the number of repeating accent patterns in Theophan's poems, speaks of the high development of the verse technique in the post-Petrine era. The norms of the future syllabo-tonic system gradually, slowly, but steadily developed in the depths of verse poetry. Thus, Theophan’s 11-, 10- and 8-syllable verses, as well as non-isosyllabic cants and arrangements of psalms, demonstrate a high (reaching the level of ideal trochaic, iambic, anapestic and dactylic lines) degree of rhythmic orderliness, supported by anaphoric repetitions, internal rhymes, rare inter-verse hyphenations, which together bring the rhythm and intonation of Theophan's elegies, cants and songs closer to the melodious syllabo-tonic verse, while the thirteen-syllable verses and some humorous heterosyllabic verses are saturated with conversational and declamatory intonations. The results of the analysis confirm the reformist role of Theophan Prokopovich in the field of ordering syllabic versification, which evolved in the direction of metrotonicity.
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Knyazev, Sergey. "Northern Russian intonation: Prosodic breaks." Voprosy Jazykoznanija, no. 2 (2023): 56. http://dx.doi.org/10.31857/0373-658x.2023.2.56-88.
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This paper analyzes prosodic phrasing in Northern Russian dialects spoken in the Pinezhsky, Plesetsky, Verkhnetoemsky, Mezensky, Leshukonsky, Konoshsky, and Vinogradovsky districts of Arkhangelsk Oblast based on the material of dialectal speech corpora and the author’s tape recordings of dialectal speech made in 1987–1999 (49 hours in total). It deals primarily with the issues related to the local markers of prosodic phrasing, their hierarchy and phonetic means of realization. Based on the performed analysis, I suggest the following break index scale in Arkhangelsk dialects: 0 — break index showing strongest cohesion (absence of prosodic break), typical of boundaries internal to prosodic words (e.g., boundaries between clitics and hosts); 1 — break index marking prosodic word boundaries: marked on the right edge of a prosodic word followed by another prosodic word within the same accentual phrase (by means of reset of the word’s rhythmical structure); 2 — break index marking accentual phrase boundaries: marked on the right edge of an accentual phrase followed by another accentual phrase within the same intermediate phrase (phonetically manifested as a signifi cant — more than 1.5 semitones — tonal drop on a voiced consonant and/or on a poststressed vowel); 3 — break index marking a boundary between an intermediate phrase with nuclear pitch accent and an accentual phrase with non-nuclear pitch accent within the same intonational phrase (using a long, 300–1500 ms, interruption in articulation and high or low boundary tone); 4 — break index marking intermediate phrase boundaries: marked on the right edge of an intonational phrase (by means of high or low boundary tone and an optional pause); 5 — break index marking intonational phrase boundaries: marked on the right edge of an intonational phrase (by means of low boundary tone and an optional pause). The most characteristic features of Arkhangelsk dialects from the perspective of prosodic phrasing are 1) the accomodationof microprosodic features (tonal drop on voiced consonants) for macroprosodic purposes (marking accentual phrase boundaries); 2) the use of lasting physical breaks in articulation to mark prosodic phrasing within an intonational phrase; 3) the absence of a sraightforward correlation between the pause duration and the depth of prosodic breaks.
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Shelya, Artjom, and Oleg Sobchuk. "The shortest species: how the length of Russian poetry changed (1750–1921)." Studia Metrica et Poetica 4, no. 1 (2017): 66–84. http://dx.doi.org/10.12697/smp.2017.4.1.03.
Full textAbstract:
The paper studies long-term changes in the length of Russian poetry (1750–1921) to reveal the relation of poem length (counted in lines) to a poetic form and its evolution. The research has shown a dramatic decrease in the mean and median poetry lengths during the 19th century. This decrease was followed by the decline in length diversity, which resulted in short poems (8–20 lines) overpopulating the literature during the age of Modernism. We argue that this transformation towards the short form could be understood in the framework of cultural evolution: Russian poetry struggled to keep its literary niche, while being continuously under the pressure of successful large narratives of the 19th century. Therefore, it was forced to develop complexity while being highly constrained formally (accentual-syllabic verse and rhyme maintained for a long time) by the shrunk length of a lyrical poem.
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Conser, Anna. "Pitch Accent and Melody in Aeschylean Song." Greek and Roman Musical Studies 8, no. 2 (2020): 254–78. http://dx.doi.org/10.1163/22129758-12341373.
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Abstract This article presents empirical evidence that pitch accents played a role in the antistrophic songs of Aeschylus’ tragedies, and argues that the accentual melodies preserved in the texts can usefully contribute to our interpretation of tragic lyric. Following a general Introduction, Section 2 provides an overview of the historical principles by which pitch accent and melody are coordinated in the ancient musical documents, and considers how these principles would apply in the context of tragedy’s antistrophic song. Section 3 presents the results of a computational study of pitch accent responsion across all the extant lyrics of Aeschylus, finding the overall degree of responsion to be statistically significant compared to prose and verse control groups. In Section 4, I demonstrate how the melodic traces preserved in pitch accent patterns can be meaningfully related to the lyrics they accompany, using an example from the Kommos of Libation Bearers (434-43).
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GEARY, JASON. "Reinventing the Past: Mendelssohn's Antigone and the Creation of an Ancient Greek Musical Language." Journal of Musicology 23, no. 2 (2006): 187–226. http://dx.doi.org/10.1525/jm.2006.23.2.187.
Full textAbstract:
ABSTRACT In 1841, Sophocles's Antigone was performed at the Prussian court theater with staging by Ludwig Tieck and music by Felix Mendelssohn. Commissioned by King Friedrich Wilhelm IV, this production aimed to re-create aspects of Greek tragedy by, among other things, using J. J. Donner's 1839 metrical translation and having an all-male chorus sing the odes. Mendelssohn initially experimented with imitating the purported sound of ancient music by composing primarily unison choral recitative and limiting the accompaniment to flutes, tubas, and harps; but he quickly abandoned this approach in favor of a more traditional one. Yet despite his overall adherence to modern convention, he did employ several strategies to evoke ancient Greek practice and thus to meet the unique demands of the Prussian court production. Highlighting important distinctions between verse-types in the original poetry, Mendelssohn retained a vestige of his initial approach by composing unison choral recitative to indicate the presence of anapestic verse while turning to melodrama for the lyric verse of the play's two main characters. In addition, he reproduced the poetic meter by shaping the rhythm of the vocal line to reflect both the accentual pattern of Donner's translation and, in some cases, the long and short syllables of Sophocles's Greek verse. Owing largely to the irregular line lengths characteristic of Donner's text, the music is marked by conspicuously asymmetrical phrases, which serve to defamiliarize the otherwise straightforward choral styles being employed to convey the various moods of Sophocles's choruses. In the opening chorus, Mendelssohn alludes to the familiar sound of a Mäännerchor accompanied by a wind band, thereby suggesting the ode's celebratory and martial associations while recalling his own Festgesang written for the 1840 Leipzig festival commemorating the 400th anniversary of Gutenberg's printing press. The listener is thus presented with a thoroughly recognizable musical idiom and yet simultaneously distanced from it in a way that underscores the historical remoteness of ancient Greek tragedy.