“Tempo-The Rhythm and Rhyme of the Artist”™ is the second book in the Artimagination® Inspiration Books series (and it is now in its 2d Edition, with a few new.
Table of contents
- Artimagination® Inspiration Books
- ::RHYTHM AND THE ART OF POETRY::
- “Tempo – The Rhythm & Rhyme of the Artist” now in its 2d Edition
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I hope you enjoy this selection of my art, poetry and philosophy.
Artimagination® Inspiration Books
When I am in the city I never hear a plane My mind drowns out the extra noise Like my heart drowns out your name. Hope I hear and feel rain again Hope to be with you too Miss dancing in rolling thunder Loving you with all its wonder. You must be logged in to post a comment. To view Nicole's portfolio full size please visit or if you are using an Apple iPad, Mac, etc. Nicole van Dam "The Glance" cat artwork by M. Flower Celebration provides an interesting interplay between soft florals and strong geometric patterns.
I was inspired by the intricate geometric planes and shapes in [ Everyone is a critic! Find in the Apple App store: Read more Read less. Prime Book Box for Kids. About the Author Nicole, a California native born of Dutch parents, was educated on the East Coast including Harvard, Cornell and University of Pennsylvania, as well as USC and is now living in California with her much-loved husband and their mischievous pets.
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::RHYTHM AND THE ART OF POETRY::
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Set up a giveaway. There is some slight stress on the first syllable of "toward. This change to just a touch of emphasis is the variation in the established pattern. We can call the rhythmic pattern that opens the poem a "pattern of expectation. It is our reference point, like the opening phrases of a dance tune.
The poet may introduce new patterns--change the tempo, complicate it; yet each time, some kind of repetition helps us to make sense of the sounds we are hearing. To continue the analogy, we may be surprised for a moment because the music is changing. But our attentive ear finds the cues we need to keep on dancing. Yet a great part of their seemingly easy flow--though we do not ever stop to think about it--comes from the fact that their rhythms are familiar.
“Tempo – The Rhythm & Rhyme of the Artist” now in its 2d Edition
Poems are often based on traditional meters our ears have heard again and again--for example iambic pentameter, the meter on which most of Shakespeare's and his descendants' rhythms are based. In the traditional description of rhythm, a line is broken up into units called "feet. An iambic foot, for example, has two syllables, an unstressed followed by a stressed--as in the phrase "to be". We will find we can describe most traditional poetic lines with these two parameters: A complete study of prosody the art of versification would include learning a standard classification of metric feet.
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We will name only the most important. The most basic foot in English is the iamb tatum. This is because most two-syllable words are accented on the second syllable belief, complaint, reveal. Four other common types of metric feet are: Three other types of metric feet are less common in poetry written in English: With its two equal and heavy stresses in a row, a spondaic foot takes more time to say.
With just one stressed syllable, monosyllabic feet tend to be very emphatic.
In Lady Macbeth's famous speech, there are three of these feet in the first line, and two in the second the slashes indicate where the feet break: In sequence, the five feet in this line are: Besides the type of foot, we need to know the number of feet in a poetic line. This is described by the prefix we attach to the word 'meter. An example of trimeter, from As You Like It: The first line is mostly iambic; the next two are mostly trochaic.
A familiar meter enhances the sense we frequently have in listening to poetry that a particular phrase or line is inevitable--that there is no better way, in fact no other way, to make a particular statement. This experience of the inevitability of a line or phrase is one we have in listening to music, and in fact we often speak of "the music" of poetry when we want to allude to rhythms or other qualities of sound in a poem. It is always the product of a relationship: One is the pattern we expect to hear; the other is what we actually hear. The intricate relationship between these two is a combination of the familiar and the surprising that gives us the sense of language that is alive and worth listening to.
The familiar comes from the past, from repeated hearing of poetry and song. Though we don't ever think about it, we have in our heads many traditional poetic forms. One well entrenched form, for example, is the limerick. Another is the ballad stanza.