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On rhyme
Liège : Presses universitaires de Liège, 2017."Edited by David Caplan, On Rhyme collects essays by leading scholars from America and the United Kingdom. Like its subject, the essays on rhyme range broadly. They consider an array of topics and employ a number of approaches. Surveying the field, the authors examine rhyme in various historical periods (including the Renaissance, Augustan, Romantic, Modern and Contemporary eras) and in different genres (including poetry and song). Several consider how particular artists (such as the poets Robert Creeley, Emily Dickinson, and Edmund Spenser, and the Somali-born hip-hop artist K'naan) utilize rhyme. Others analyze the shifting attitudes toward rhyme that characterize particular historical periods. Close readings extend insights from linguistics, philosophy, and literary criticism. A selection of poems adds to the interdisciplinary approach as poets offer their own perspectives on the technique. Suggesting its main emphases, the book is divided into six sections: Rhyme in Modem and Contemporary American Poetry, Rhyme across Time Periods, Rhyme in Earlier Periods, Poetry Portfolio, Hip Hop and Rhyme, and Rhyme in Other Texts."--Page 4 of cover.
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Rhyme judgment
Xue, G.October 6, 2011Subjects were presented with pairs of either words or pseudowords, and made rhyming judgments for each pair.
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Dragon rhyme : for symphonic band
Chen, Yi, 1953-[King of Prussia, Pa.?] : C. Fischer Music and T. Presser Co., c2010.
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Books of folk rhymes by early Chinese immigrants acquired and digitized
Stanford Libraries has acquired and digitized three volumes of folk rhymes written by Chinese immigrants, published in San Francisco's Chinatown in the 1910-1920s. As soon as it is announced the ship has reached America:I burst out cheering, I have found precious pearls.How can I bear the detention upon arrival,Doctors and immigration officials refusing to let me go?All the abuse—I can't describe it with a pen.I'm held captive in a wooden barrack, like King Wen in Youli:No end to the misery and sadness in my heart.* 一話船到美，歡同得寶珠。那堪抵埠受羈縻，醫生税員未準紙。受太氣。筆尖難以紀。板樓困入如羑里，無限淒涼心裡悲。 Above is an English translation of a Chinese folk rhyme written by an early Cantonese immigrant about his first arrival at the port of San Francisco. The original folk rhyme in Chinese was included in an anthology of Chinatown folk rhymes published in 1911, entitled Jinshan ge ji (Songs of Gold Mountain 金山歌集). It contains 808 rhymes in the Cantonese folk song format. A second anthology was published in 1915 containing an additional 832 rhymes, under the title Jinshan ge er ji (Songs of Gold Mountain, volume 2 金山歌二集). These two volumes contain a total of 1,640 rhymes. Recently these two rarely found books, as well as another anthology compiled later in 1921, have been acquired and added to the East Asia Library's special collections. This acquisition is the result of a collaboration between Benjamin Stone, Curator for American and British History, and Zhaohui Xue, Chinese Studies Librarian, in an effort to collect resources pertinent to the history and experience of early Chinese immigrants in California. Songs of Gold Mountain was created in the early 20th century, using a lot of Cantonese colloquialisms to tell the story of survival and life experience in the “new world,” to express hardships and loneness, the joys and sorrows, sentiment and tears of the early Chinese immigrants living in San Francisco. These songs are valuable resources for studying the history of early Chinese immigrants and Chinese American folk literature. They were used by Professors Gordon Chang and Shelley Fisher Fishkin as part of the research by the Stanford-based Chinese Railroad Workers in North America project. All three books have been added to East Asia Library Special Collections. Digitized books are accessible in SearchWorks: Jinshan ge ji 金山歌集Jinshan ge er ji 金山歌二集Zui xin Jinshan ge ji lian ji he ke 最新金山歌集聯集合刻 This post was co-authored by Zhaohui Xue and Benjamin Stone. *Hom, Marlon K. Songs of Gold Mountain: Cantonese Rhymes from San Francisco Chinatown. Berkeley: University of California Press, 1987. P.74.
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Breaking the canon: Padre Martini’s vision for the canonic genre
Giovanni Battista Martini, CanoniMemorial Library of Music, MLM 643Guest blogger: Gabriel EllisBy the mid-18th century, canons—compositions for several instruments or voices in which all the musical material is derived from a single written line of music—had acquired a reputation for abstruseness. They were often deliberately presented as puzzles, utilizing arcane devices like imitation in retrograde, augmentation, diminution, or at a given interval, and leaving it up to the performer to divine the intended manner of performance. Their brevity, complexity, and self-contained nature also made them apt emblems of musical craftsmanship, and they often appeared in artistic depictions of composers. In this portrait of the 18th-century composer and scholar Padre Giovanni Battista Martini by Angelo Carescimbeni, the composer can be seen holding his canon “Quid Vides.” A manuscript of 303 little-known canons by Martini in Stanford’s Memorial Library of Music, known only by the general title “Canoni” as its front page has been torn off, represents a striking deviation from this tradition. Martini was certainly no stranger to the intellectual side of canonic composition: the first two volumes of his treatise on music history included a series of notoriously difficult puzzle-canons of his own devising on ancient Latin texts. But in this manuscript, the texts he sets—mostly Italian and Bolognese poems he wrote himself—tend toward the lighthearted. In one, he complains of crooked doctors:Io professo medicinaI practice medicineE batezzo per malignoAnd I christen as the [work of the] DevilOgni mal che non intendoEvery ill that I didn’t intend.La moneta intanto prendoIn any case I take the moneyE tra me poscia soghignoAnd I sigh to myselfChe vi sia gente sì pazza That there are people crazy enoughla qual paghi chi l'amazzaTo pay the one who kills them. Elsewhere, Martini vents about the incompetence of singers or lavishes praise on fellow composers or performers. He also depicts humorous moments from his everyday life. In one text, he becomes so excited about a snack that he veers off into nonsense syllables rather than complete the rhyme:O Canone, o CanoneOh Canon, oh CanonDue fette di MeloneTwo slices of melonA me che l’ho compostoTo me who composed itAlmen per caritàAt least out of charityLa ra, la ra, etc.La ra, la ra, etc. Even when texts are trivial, Martini pays close attention to their musical setting. For “Gia ride primavera,” which describes the play of spring breezes through grasses and flowers, he writes music replete with gentle sighing gestures:Performance by Gabriel Ellis and Maria Massucco; translations by Maria Massucco.The music of another canon, depicting amateur singers who “don’t know solfege,” is deliberately stilted, resembling a vocal exercise. And although compositions of this frivolity are surprising in what is presumably a collection intended for publication, this seems to be the entire point. If Martini is trying to prove that canons can be accessible, personal, and even irreverent, he certainly seems to have succeeded with his student Mozart, who would go on to write the infamous canon “Leck mich im Arsch.” Martini’s letters do suggest that he saw in the canon an eminently performable genre and pedagogical tool, as well as an intellectual exercise—in 1761, he wrote that he was considering publishing a book of canons specifically in order to interest young composers in the genre. We may speculate that this manuscript is that book. But even if not, clues in its format and contents do suggest that it was intended for publication rather than for Martini’s private records. The manuscript is carefully handwritten throughout in Martini’s own hand, and also seems designed to be durable: the paper is thick and the spine has been reinforced with pigskin. An index of first lines has been provided, and the manner of performance for each canon has been made clear by signs indicating the number of voices and the point at which they are to enter. Martini would hardly have needed these indications, but a publisher would have—and in his later years, Martini was preoccupied with getting his canons published. Although he succeeded once in 1775, when a collection of just 52 was published in Venice, his letters indicate that he continued making inquiries with publishers until nearly the time of his death in 1784. Martini’s writings elsewhere indicate that he thought the best teaching was done by example, and this manuscript seems to be just that—an example of Martini’s vision of what the canon could be. For us, the most notable compositions in it are the most trivial, as it is these that open the clearest windows onto the everyday reality of both the 18th-century Italian musical world and the life of the composer. And yet, we cannot ignore the manuscript’s conclusion, where Martini breaks the lighthearted character with a remarkable set of twenty canons on the complete Latin text of the Dies Irae from the Mass for the Dead, followed by a final canon on the simple text “Amen. Amen. Amen.” These settings display a musical sophistication befitting their solemn text, and their inclusion may be merely an attempt to demonstrate compositional prowess and versatility. But we can imagine that to Martini, who was a priest as well as a composer and scholar, they served a dual purpose—at the end of a collection containing more than a little irreverence, this Dies Irae might just represent his little bit of repentance.[Click here for full-screen view]With thanks to Astrid Smith, Rare Book and Special Collections Digitization Specialist, and the Digital Production Group for providing downloadable images of this item; and to Aude Gabory, Assistant Conservator, for stabilizing this fragile object.Guest blogger Gabriel Ellis is a doctoral student in musicology at Stanford University. His research focuses on popular music, how it intersects with technology, and how its performers formulate their identities. He also occasionally performs as a countertenor.Maria Massucco is a PhD student in the Department of French and Italian with a background in voice and opera performance.
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