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example: group membership can be indicated by the use of intonation patterns adopted specifically by that group, such as street vendors or preachers. The so-called high rising terminal , where a statement ends with a high rising pitch movement, is said to be typical of younger speakers of English, and possibly to be more widely found among ...
In poetry cadence describes the rhythmic pacing of language to a resolution [2] and was a new idea in 1915 [3] used to describe the subtle rise and fall in the natural flow and pause of ordinary speech [4] where the strong and weak beats of speech fall into a natural order [5] restoring the audible quality to poetry as a spoken art. [6]
These properties can be those of stress, intonation (a single pitch and rhythm contour), or tonal patterns. Prosodic units occur at a hierarchy of levels , from the syllable , the metrical foot and phonological word to the intonational unit (IU) and to a complete utterance . [ 1 ]
The rhythm of the English language has four different elements: stress, time, pause, and pitch. Furthermore, "When stress is the basis of the metric pattern, we have poetry; when pitch is the pattern basis, we have rhythmic prose" (Weeks 11). Stress retraction is a popular example of phrasal prosody in everyday life. For example:
In poetry, the rise or fall in pitch of the intonation of the voice, and its modulated inflection with the rise and fall of its sound. [33] caesura A break or pause in a line of poetry, dictated by the natural rhythm of the language and/or enforced by punctuation. A line may have more than one caesura, or none at all.
Tone is the use of pitch in language to distinguish lexical or grammatical meaning—that is, to distinguish or to inflect words. [1] All oral languages use pitch to express emotional and other para-linguistic information and to convey emphasis, contrast and other such features in what is called intonation, but not all languages use tones to distinguish words or their inflections, analogously ...
A rhyme scheme is the pattern of rhymes at the end of each line of a poem or song. It is usually referred to by using letters to indicate which lines rhyme; lines designated with the same letter all rhyme with each other. An example of the ABAB rhyming scheme, from "To Anthea, who may Command him Anything", by Robert Herrick:
An illustration of the fable of Hercules and the Wagoner by Walter Crane in the limerick collection "Baby's Own Aesop" (1887). The standard form of a limerick is a stanza of five lines, with the first, second and fifth rhyming with one another and having three feet of three syllables each; and the shorter third and fourth lines also rhyming with each other, but having only two feet of three ...