History Main / LyricalShoehorn

23rd Dec '16 2:35:38 AM 06tele
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* In a sort-of non-musical example, the poetry of Literature/Homer is full of these, at least if you accept the (generally accepted) theory of oral-formulaic composition. Anyone who reads Homer soon notices that certain words and passages crop up again and again: e.g., the sea is often described as 'wine-dark', dawn is 'rosy-fingered', and there's an entire chunk of lines in the ''Iliad'' describing how they cook and eat meat which just gets repeated whenever the guys want to have food. In the 1920s, classical scholar Milman Parry developed a theory to explain this, based in part on his field studies of oral poetry in the Balkan countries. The theory says that the poems attributed to Homer were originally composed as part of an oral tradition before they got written down, and the poets often needed to come up with a word that would help a line to flow but would also fit the meaning. Some of these would take the form of entire 'type-scenes', which could be brought out to mark significant moments and which wouldn't vary much from character to character. Further scholars have extended this theory to the study of Literature/TheBible and Literature/TheQuran. Yes, when it's a showdown between rhythm and meaning, rhythm wins.

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* In a sort-of non-musical example, the poetry of Literature/Homer Literature/{{Homer}} is full of these, at least if you accept the (generally accepted) theory of oral-formulaic composition. Anyone who reads Homer soon notices that certain words and passages crop up again and again: e.g., the sea is often described as 'wine-dark', dawn is 'rosy-fingered', and there's an entire chunk of lines in the ''Iliad'' describing how they cook and eat meat which just gets repeated whenever the guys want to have food. In the 1920s, classical scholar Milman Parry developed a theory to explain this, based in part on his field studies of oral poetry in the Balkan countries. The theory says that the poems attributed to Homer were originally composed as part of an oral tradition before they got written down, down -- in fact, they were sung -- and the poets singers often needed to come up with a word that would help a line to flow but would also fit the meaning. Some of these would take the form of entire 'type-scenes', which could be brought out to mark significant moments and which wouldn't vary much from character to character. Further scholars have extended this theory to the study of Literature/TheBible and Literature/TheQuran. Yes, when it's a showdown between rhythm and meaning, rhythm wins.
23rd Dec '16 2:34:08 AM 06tele
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* In a sort-of non-musical example, the poetry of Literature/Homer is full of these, at least if you accept the (generally accepted) theory of oral-formulaic composition. Anyone who reads Homer soon notices that certain words and passages crop up again and again: e.g., the sea is often described as 'wine-dark', dawn is 'rosy-fingered', and there's an entire chunk of lines in the ''Iliad'' describing how they cook and eat meat which just gets repeated whenever the guys want to have food. In the 1920s, classical scholar Milman Parry developed a theory to explain this, based in part on his field studies of oral poetry in the Balkan countries. The theory says that the poems attributed to Homer were originally composed as part of an oral tradition before they got written down, and the poets often needed to come up with a word that would help a line to flow but would also fit the meaning. Some of these would take the form of entire 'type-scenes', which could be brought out to mark significant moments and which wouldn't vary much from character to character. Further scholars have extended this theory to the study of Literature/TheBible Bible and Literature/TheQuran. Yes, when it's a showdown between rhythm and meaning, rhythm wins.

to:

* In a sort-of non-musical example, the poetry of Literature/Homer is full of these, at least if you accept the (generally accepted) theory of oral-formulaic composition. Anyone who reads Homer soon notices that certain words and passages crop up again and again: e.g., the sea is often described as 'wine-dark', dawn is 'rosy-fingered', and there's an entire chunk of lines in the ''Iliad'' describing how they cook and eat meat which just gets repeated whenever the guys want to have food. In the 1920s, classical scholar Milman Parry developed a theory to explain this, based in part on his field studies of oral poetry in the Balkan countries. The theory says that the poems attributed to Homer were originally composed as part of an oral tradition before they got written down, and the poets often needed to come up with a word that would help a line to flow but would also fit the meaning. Some of these would take the form of entire 'type-scenes', which could be brought out to mark significant moments and which wouldn't vary much from character to character. Further scholars have extended this theory to the study of Literature/TheBible Bible and Literature/TheQuran. Yes, when it's a showdown between rhythm and meaning, rhythm wins.
23rd Dec '16 2:33:47 AM 06tele
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* In a sort-of non-musical example, the poetry of Literature/Homer is full of these, at least if you accept the (generally accepted) theory of oral-formulaic composition. Anyone who reads Homer soon notices that certain words and passages crop up again and again: e.g., the sea is often described as 'wine-dark', dawn is 'rosy-fingered', and there's an entire chunk of lines in the ''Iliad'' describing how they cook and eat meat which just gets repeated whenever the guys want to have food. In the 1920s, classical scholar Milman Parry developed a theory to explain this, based in part on his field studies of oral poetry in the Balkan countries. The theory says that the poems attributed to Homer were originally composed as part of an oral tradition before they got written down, and the poets often needed to come up with a word that would help a line to flow but would also fit the meaning. Some of these would take the form of entire 'type-scenes', which could be brought out to mark significant moments and which wouldn't vary much from character to character. Further scholars have extended this theory to the study of Literature/TheBible Bible and LiteratureTheQuran. Yes, when it's a showdown between rhythm and meaning, rhythm wins.

to:

* In a sort-of non-musical example, the poetry of Literature/Homer is full of these, at least if you accept the (generally accepted) theory of oral-formulaic composition. Anyone who reads Homer soon notices that certain words and passages crop up again and again: e.g., the sea is often described as 'wine-dark', dawn is 'rosy-fingered', and there's an entire chunk of lines in the ''Iliad'' describing how they cook and eat meat which just gets repeated whenever the guys want to have food. In the 1920s, classical scholar Milman Parry developed a theory to explain this, based in part on his field studies of oral poetry in the Balkan countries. The theory says that the poems attributed to Homer were originally composed as part of an oral tradition before they got written down, and the poets often needed to come up with a word that would help a line to flow but would also fit the meaning. Some of these would take the form of entire 'type-scenes', which could be brought out to mark significant moments and which wouldn't vary much from character to character. Further scholars have extended this theory to the study of Literature/TheBible Bible and LiteratureTheQuran.Literature/TheQuran. Yes, when it's a showdown between rhythm and meaning, rhythm wins.
23rd Dec '16 2:32:34 AM 06tele
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Added DiffLines:

* In a sort-of non-musical example, the poetry of Literature/Homer is full of these, at least if you accept the (generally accepted) theory of oral-formulaic composition. Anyone who reads Homer soon notices that certain words and passages crop up again and again: e.g., the sea is often described as 'wine-dark', dawn is 'rosy-fingered', and there's an entire chunk of lines in the ''Iliad'' describing how they cook and eat meat which just gets repeated whenever the guys want to have food. In the 1920s, classical scholar Milman Parry developed a theory to explain this, based in part on his field studies of oral poetry in the Balkan countries. The theory says that the poems attributed to Homer were originally composed as part of an oral tradition before they got written down, and the poets often needed to come up with a word that would help a line to flow but would also fit the meaning. Some of these would take the form of entire 'type-scenes', which could be brought out to mark significant moments and which wouldn't vary much from character to character. Further scholars have extended this theory to the study of Literature/TheBible Bible and LiteratureTheQuran. Yes, when it's a showdown between rhythm and meaning, rhythm wins.
15th Dec '16 8:57:04 PM Twentington
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* "All I Want To Do" by Sugarland is a rather notorious example. Just look it up on Website/YouTube and take a listen.

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* "All I Want To Do" by Sugarland Music/{{Sugarland}}. The word "do" is stretched quite egregiously over a rather notorious example. Just look it up on Website/YouTube and take a listen.very long melodic run.



%%* Bono's infamous [[GratuitousSpanish Spanish counting]] at the beginning of Music/{{U2}}'s "Vertigo:" "Unos! Dos! Tres! Catorce!" That's "Some! Two! Three! Fourteen!" for the non-fluent among you.
23rd Sep '16 8:59:55 AM PerfumePreppy
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Added DiffLines:

** On the topic of grammar errors, "All I Have to Give" has the lines "does his gifts come from the heart" and "does his friends get on your time". This is especially unsettling because "do his gifts..." and "do his friends..." would have fit the metric just fine.
31st Jul '16 2:12:11 PM missmoon
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* This is ridiculously prolific Swedish record producer Max Martin's preferred method of writing and producing songs, especially since English is also his second language. He deploys a concept that he called "melodic math", in which the song lyrics take a backseat to the music and the syllables must match the beat. While writing and producing "I Want It That Way", for Music/BackstreetBoys, they protested that the lyrics made no sense. He allowed them to record two versions of the song, one where the lyrics made sense, and the original one. The band ultimately chose the original nonsensical lyrics because it made the song flow better.
20th Jun '16 11:31:24 AM gewunomox
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* "All I Want To Do" by Sugarland is a rather notorious example. Just look it up on Youtube and take a listen.

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* "All I Want To Do" by Sugarland is a rather notorious example. Just look it up on Youtube Website/YouTube and take a listen.



* BillyJoel was prone to these. From "Tell Her About It":

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* BillyJoel Music/BillyJoel was prone to these. From "Tell Her About It":



* There's CelineDion's "With This Tear" (written by Prince):

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* There's CelineDion's Music/CelineDion's "With This Tear" (written by Prince):Music/{{Prince}}):
17th Jun '16 2:58:00 AM Doug86
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* ArianaGrande's "Break Free" includes the grammatically incorrect line "Now that I've become who I really are", because "am" doesn't rhyme with "heart".

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* ArianaGrande's Music/ArianaGrande's "Break Free" includes the grammatically incorrect line "Now that I've become who I really are", because "am" doesn't rhyme with "heart".
16th Jun '16 8:42:40 PM Fuzy2K
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-->"They want what they're not/and I wish they would stop/ saying: "Debbity dog dog a ding dang doobie doobie debbity dog dog a ding dang doobie doobie" '''D''': World Destruction/ '''O'''-ver an overture/'''N''': do I need/'''Apostrophe T''': need this torture?

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-->"They want what they're not/and I wish they would stop/ saying: "Debbity dog "Deputy dawg dog a ding dang doobie doobie debbity dog depa depa, Deputy dawg dog a ding dang doobie doobie" depa depa" '''D''': World Destruction/ '''O'''-ver an overture/'''N''': do I need/'''Apostrophe T''': need this torture?
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