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unfamiliarity of a mis-stressed word lessens the listener’s potential to gain trust. That is because mis-stressed lyrics lack conversational qualities. As mentioned previously, stressing a word incorrectly may cause it to be mistaken for a different word, or cause it to be completely unidentified. Musical time constantly moves forward, but the distraction and misunderstanding that mis-stressed lyrics cause slow down the listener’s thought process. By the time the listener can identify a mis-stressed word, the song has already moved onto new words and melodies, and the word can no longer live up to its full meaning in context. Most times, the listener’s focus will move forward with the song, latching onto new words and ideas that are easier to identify and recognize, leaving the mis-stressed word behind. Whether the lyric is identified by the listener or not, its meaning is lost due to the fact that it does not stay true to its original conversational rhythm.
866:. In this way, placing these words on strong beats of a measure not only encourages them to be noticed, but also increases the chances that the listener’s personal memories will be accessed, promoting relatability. When the listener notices likeness between their memories and lyrical content, an emotional connection is established, because of their ability to find representation for their own experiences. Through these means, proper lyric setting ensures that the message of a song will achieve its full emotional potential, which in turn achieves its highest state of relatability. In addition, there are other lyric setting tools that can alter the placement of lyrics to amplify different emotions and attitudes, while still preserving the natural shape of the language. These tools can be applied only after stressed and unstressed syllables have been identified and the emotional intentions for a lyric are decided.
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conversation. This is done quickly, immediately, and without much thought. Following the identification of a word comes the understanding of meaning, and which meaning the word is intending in the context of the song. If a lyric is not properly set, a word might be mistaken for a different word, or be completely unidentified. Songs are constantly moving forward, so there is little time for the listener to decipher words. By the time the listener identifies an improperly set lyric, the song has already moved onto new words and melodies. The mis-stressed word loses the opportunity to live up to its full meaning in context. When words are easily recognized and understood in a song, the chance of establishing an emotional connection to the listener is increased because it subconsciously creates a level of trust and expectation. Recognizability and understanding are two important factors that promote relatability.
197:. It is one feature that defines the division of speech into units through the various pitches that syllables are naturally assigned. In this way, pitch plays an important role in differentiating stressed and unstressed syllables through lower and higher pitches, and in creating rhythm in language. Intonation is additionally used in speech for special effect, highlighting words to create emphasis or to support a specific emotion. However, this choice is made subconsciously. It's important to note that the application of pitch in the English language is not an artificial process, and native speakers utilize pitch fluctuations in words, sentences, and exclamations inherently. Recognizing lower and higher pitches in language during the process of lyric setting increases the probability of preserving the natural shape of the language.
255:. Syllables in the English language are expressed through different dynamics depending on their natural prominence, or stress. Dynamics are also used outside of normal speech patterns to emphasize certain words or to express particular emotions. Recognizing dynamics in speech during the process of lyric setting can increase the probability of preserving the natural emotion that is responsible for the dynamics and promote prosody in music.
701:, the stressed syllables are placed on the first and fourth beats. The unstressed syllables are placed on the second, third, fifth, or sixth beats. When using duple meter in 6/8 time, the stressed syllables are placed on the first and fourth beats. Unstressed syllables are placed on the second, third, fifth, or sixth beats. Note that
153:. It is of importance to identify these suprasegmentals in language, as it is the combination of these variables that defines the stressed and unstressed syllables of words. The factors of intonation, duration, and dynamics contribute greatly to the process of identifying and executing proper lyric setting.
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While proper lyric setting has positive effects, improper lyric setting has negative effects. A mis-stressed lyric is a word with one or more stressed and/or unstressed syllables that do not properly align with the strong and weak beats of a measure, and, therefore, neither preserve the natural shape
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are generally considered unstressed. Placing grammatical functions in strong positions of the bar takes away from the attention that should be on words with meaning functions. By placing both stressed and unstressed syllables on strong positions of the bar, the rhythm is suggesting that the meanings
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A mis-stressed lyric distracts the listener because it sounds out-of-place, illegitimate, and unnatural. It has the potential to cause confusion and misunderstanding in regards to both identifying words and recognizing their meanings. While proper lyric setting creates trust within the listener, the
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When a lyric is properly set, with its natural rhythms present in music, words are familiar and easily recognized by the listener. The goal is to avoid causing the audience to work overtime to identify words. The brain will automatically interpret a correctly set phrase as though it were spoken in a
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reaches a higher pitch, some might decide to represent this idea musically by assigning it to a higher pitch in the melody. This is not an essential factor for proper lyric setting, but it has the potential to preserve the natural contour of the language. This could be especially true for the lyric
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is the only strong beat. Although the second and third beats are considered weak, they are actually eligible for stressed syllables if the beats are subdivided into eighth notes. In this instance, there is a contrast established between the strong and weak eighth notes. The unstressed syllables fall
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is the weaker of the two, with its prosodic features falling between an unstressed and stressed syllable. Its pitch is higher than the tonic, but lower than the primary stress. The volume and duration of the secondary stress is similar to the primary stress, but not as prominent. Words with three or
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measured in time units such as milliseconds or seconds. In music, however, duration is measured in note value regarding beats and their subdivisions. Syllables in the
English language are naturally expressed with various durations. In partnership with pitch, the duration of a syllable can indicate
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to a stressed syllable and a shorter note value to an unstressed syllable within the melody. It is not essential, however, to use duration to create a proper lyric setting. The natural contour of the language could potentially be represented in the music more prominently if the duration were taken
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are utilized solely for special effect to enhance meaning on a specific word, phrase, or section, instead of to enhance the technical qualities of stressed and unstressed syllables. Using suprasegmentals in this way is another aspect of setting lyrics to create prosody and to preserve the natural
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Within a lyrical phrase, stressed syllables occur in strong positions of the measure because they hold the most meaning. For instance, in 4/4 time, stressed syllables are placed on the first and third beat of the measure, or any subdivision of a beat that is considered strong. The reason why this
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are made up of strong and weak beats. The stressed and unstressed syllabic patterns of lyrical content are aligned with strong and weak beats of music in order to ensure lyrics are easily recognized, correctly understood, and fulfill their ultimate meaning and emotion. The purpose of proper lyric
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take their rightful places, the song takes its most natural form. Although emotions may appear as though a mere happenstance, it is the technical tools such as proper lyric setting that are working behind the scenes to maintain some of the basic building blocks a song needs in order to achieve
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within a phrase create a rhythmic pattern that is then matched to the strong and weak beats of musical rhythm. When setting lyrics, the natural accents of everyday speech are taken into consideration. Imposing an unsuited rhythm onto the lyrics for the sake of matching it to a melody does not
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The suprasegmentals earlier discussed regarding speech can also be applied to strong and weak beats of a measure. The strength of a beat is identifiable through its prominence, or force. The strong beats always have the most prominence, and can match the strength of a stressed syllable’s
934:, which in turn lessens the lyric’s emotional impact and relatability. To get the most out of lyrical content, the words with the most meaning are placed on the strongest beats. This also helps the listener subconsciously stay focused on what is most important about the song’s message.
501:. Words that have more than one syllable are called multisyllabic words. Two-syllable words typically have one stressed and one unstressed syllable. However, many words in the English language have three or more syllables. In these cases, words often have more than one stress. A
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A lyric’s meaning lives up to its full potential when the lyric stays true to its natural rhythm. Stressed syllables hold more meaning than unstressed syllables, and, therefore, are more important to the song’s message. Placing more important words on stronger, more prominent
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are typically up to interpretation by the vocalist of the song. The songwriter may choose to emphasize stressed syllables with louder dynamics and unstressed syllables with softer dynamics. However, this is not an essential factor in lyric setting either.
670:, force, and prominence. If unstressed syllables are set on strong beats, the lyrical content sounds unnatural and suffers a loss of meaning. The unstressed syllables are placed on weak beats in order to embrace the most authentic meaning of the lyric.
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Before defining a stressed syllable, it is important to define an unstressed syllable. Every human voice has its natural resting pitch, which varies from person to person. In musical terms, this pitch would be recognized as the voice’s
56:, prosody is created when all musical and lyrical elements work together to support the central message of a song. To achieve prosody, the rhythmic placement of a lyric in music must support its natural rhythm, meaning, and emotion.
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There are exceptions, however, to these guidelines. This is particularly true when dealing with a contrast. The following sentences give examples of these contrasts and when it is appropriate to stress grammatical functions:
662:, these syllables are placed in the second and fourth beats of the bar, or any subdivision of a beat that is considered weak. Unstressed syllables are placed on the second eighth note of any quarter-note beat. The
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puts spotlights on their meanings, more effectively enhancing and communicating what the song is trying to say. This not only keeps the listener’s attention, but also ultimately activates lyrical tools such as
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pitch, may naturally reach to the pitch of a stressed syllable in the context of a question. Taking this into account, a songwriter may decide to preserve the contour of the question in the pitch of the lyric.
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lands on a stronger beat than the secondary stress. It is important to note, in addition, that lyric setting is all proportionate to whatever subdivisions have already been established within a measure.
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and lyric writing. They are often marked with different symbols when being analyzed. Stressed syllables are indicated with a forward slash (/) and unstressed syllables are indicated with a lowercase "u."
582:. The first eighth note is the strongest, while the second and third eighth notes are weak. Recognizing strong and weak rhythmic patterns is essential during the process of proper lyric setting.
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A stressed syllable is one that is emphasized, or has prominence. In contrast to an unstressed syllable, a stressed syllable has a higher pitch. In musical terms, this pitch is commonly a
222:. Recognition of the duration of syllables during lyric setting increases the probability of properly setting words, and, in addition, promoting prosody through length of musical time.
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hold different levels of meaning and are assigned different levels of importance. Stress is not only determined by natural rhythmic meter, but also by a word's level of meaning.
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Not only are words occasionally mis-stressed due to improper rhythmic placement, but also due to meaning, or lack thereof. The most of these situations takes place when setting
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setting of questions. In this type of sentence, the last syllable typically rises at the end to indicate that it is a question. Some syllables, that would otherwise maintain a
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Grammatical functions do not hold meaning. Therefore, these words are unstressed. The grammatical function’s purpose is to support words that serve the meaning function.
342:, above the voice’s tonic. A stressed syllable tends to have a longer duration and louder volume. This contrasts with unstressed syllables to indicate superior meaning.
578:. The first sixteenth note is the strongest, followed by the third, with the second sixteenth weak and the fourth the weakest. The same concept applies to eighth-note
655:, force, and prominence that only strong beats can match. These two elements working together simultaneously helps the lyrical content sound as natural as possible.
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The ultimate goal in songwriting is to create an emotional connection with the listener. Proper lyric setting is an essential tool in achieving that goal. When all
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the prominence of a syllable, or whether it is stressed or unstressed. The length of sounds contributes greatly to the rhythm of language, and the composition of
559:, six beats are present in one measure. The first beat is the strongest, the fourth beat is second-strongest, and beats two, three, five, and six are weak.
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Stressed vs. unstressed syllables are not only identifiable in regards to the natural shape of the language, but also in regards to function. Different
1080: Collins, B.; Mees, I. (2013) . Practical Phonetics and Phonology: A Resource Book for Students (3rd ed.). Routledge. p. 129.
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Unstressed syllables occur in the weak positions of the bar. They are placed in weak positions because they do not hold meaning. For instance, in
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on the second eighth note of a quarter-note beat. The accent of the downbeat is always strongest, so it's crucial not to ignore its importance.
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When setting lyrics, it is important to note that these levels of strength are applied to the entire duration of the beat. However, within the
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551:. The first beat is the strongest, with the third beat the second-strongest. The second beat is weak, with the fourth beat the weakest. In
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of both are equally important. This is simply not true, however. The lyrics do not convey their ultimate meaning and emotion because the
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will have to share the spotlight with less important words. This lessens the listener’s ability to access personal memories through the
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suprasegmentals. These features can be enhanced by percussion instruments through the dynamics (volume), tone, timbre, or duration.
1071: Forensic Speaker Recognition: Law Enforcement and Counter-Terrorism, ed. by Amy Neustein and Hemant A. Patil. Springer, 2012)
125:. Words are made up of one or more syllables. Superimposed on syllables are other speech features such as stress or tone called
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is considered the strongest variable that determines syllable prominence, with duration and dynamics following in that order.
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proper placement of lyric-to-beat creates prosody is because the accents of strong beats support, mirror, and enhance the
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that contribute to determining the prominence, or stress, of a syllable in relationship to other syllables.
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One also might consider the duration of stressed vs. unstressed syllables and apply this concept to musical
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are placed on strong beats, but must maintain a secondary position relative to the primary stresses. The
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It is correct to stress these grammatical functions because this preserves the rhythm of natural speech.
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and musical rhythm are in proper alignment as to preserve the natural shape of the language and promote
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Stressed and unstressed syllables form into rhythmic patterns, similar to musical beats. All musical
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in music contain patterns of strong and weak beats. In every time signature, the first beat, or the
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in a word is the strongest syllable with the highest pitch, longest duration, and loudest volume. A
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1106: Halliday, M.A.K. (1967). Intonation and grammar in British English,. The Hague: Mouton.
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By satisfying these conditions, lyrical content achieves its highest state of relatability.
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The first eighth note is strong, the second is weak. A quarter note can be divided into four
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Lyric setting is the process of properly aligning lyrical content in the context of musical
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more syllables usually have an arrangement of primary, secondary, and unstressed syllables.
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1115: Hirst, D.; Di Cristo, A. (1998). Intonation systems. Cambridge. pp. 4–7.
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Words that have one syllable will be stressed determined by whether their function is
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is to establish lyrical content in its most authentic form to promote relatability.
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Hirst, D.; Di Cristo, A. (1998). Intonation systems. Cambridge. pp. 4–7.
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Hirst, D.; Di Cristo, A. (1998). Intonation systems. Cambridge. pp. 4–7.
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so arranged as to achieve musical shape, being perceived as a unity by the mind."
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These words are always stressed, because they hold meaning. Words that serve the
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of unstressed syllables and weak beats fit together because both have a lack of
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of a beat, the same patterns of strength are present, but in a lower degree. A
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carry different levels of meaning, and, therefore, are stressed differently.
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English
Grammar Today: An A–Z of Spoken and Written Grammar, Editors (2016).
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Pattison, Pat (2009). Writing Better Lyrics. Writer's Digest Books. p. 179.
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Proper lyric setting involves the identification of stressed and unstressed
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preserve the natural shape of the language and is improper lyric setting.
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Organized patterns of stressed and unstressed syllables create rhythms and
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is defined as "an appropriate relationship between elements." According to
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Ioana Chițoran (2002) The phonology of
Romanian, p 88
1397:"The Art of Lyric Writing: How to Match Lyrics to Melody"
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Songwriting: Essential Guide to Lyric Form and
Structure
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Words that serve the meaning function, also called the
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Encyclopædia
Britannica, Editors (February 28, 2020).
1334:"Part 1: Time Signatures Explained, an Introduction"
625:Each syllable of a lyrical phrase is joined to one
1143:Encyclopædia Britannica, Editors (June 13, 2007).
739:of language in the song. For instance, because a
186:The highlighting of particular words and syllables
1255:. Boston 02215: Berklee Press. pp. 19–33.
810:Words satisfy and embody their ultimate meaning
735:gives an extra representation of the natural
239:in speech are distinctions between levels of
63:. These syllables are distinguished by their
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813:Words fulfill their full emotional potential
16:Process of aligning text to a musical rhythm
1359:Cole, Richard; Schwartz, Ed (May 5, 2016).
1190:Chow, Ivan; Brown, Steven (March 5, 2018).
651:of stressed syllables, which have a higher
137:can be considered the "musical" aspects of
1450:IMRO Songwriting Seminar With Pat Pattison
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800:The effects of proper lyric setting are:
1044:"Suprasegmental Definition and Examples"
1042:Nordquist, Richard (February 11, 2020).
968:Ladefoged, Peter N. (August 21, 2014).
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193:Intonation acoustically corresponds to
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878:Mis-stressed lyrics in a song create:
1292:"A Theory of Pitch Accent in English"
1192:"A Musical Approach to Speech Melody"
898:This leads to loss of relatability.
875:of the language nor promote prosody.
858:, or words that serve the meaning or
435:- in, on, at, to, into, before, after
285:. There are two types of syllables:
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531:are alike in that they both utilize
141:. The common prosodic features are
179:that incorporates three variables:
1332:Bawiec, David (October 17, 2018).
14:
441:- I, you, she, it, they, us, them
269:The English language consists of
183:The division of speech into units
776:emotion of the lyrical content.
547:, four beats are present in one
1447:Pat Pattison (March 27, 2013).
1367:. Connection for Education, Inc
606:is defined as a "succession of
1309:10.1080/00437956.1958.11659660
1151:. Encyclopædia Britannica, inc
1067:(Manisha Kulshreshtha at al.,
1003:. Encyclopædia Britannica, inc
976:. Encyclopædia Britannica, inc
807:Words are correctly understood
535:to organize and convey ideas.
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109:All languages are made up of
1403:. Cambridge University Press
1290:Bolinger, Dwight L. (1958).
209:, or length of sounds, is a
189:The choice of pitch movement
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570:can be divided into two
163:Intonation (linguistics)
67:, or their qualities of
1196:Frontiers in Psychology
1149:Encyclopædia Britannica
1001:Encyclopædia Britannica
974:Encyclopædia Britannica
703:triplet time signatures
642:Meter-beat relationship
429:- and, but, yet, if, or
281:, which are made up of
277:, which are made up of
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251:, which is measured in
34:, in which the lyrical
1202:. Front Psychol: 247.
629:to create the melody.
907:grammatical functions
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723:Contour (linguistics)
705:can accommodate both
195:fundamental frequency
105:Prosody (linguistics)
54:Writing Better Lyrics
1453:(Videotape). YouTube
1401:Cambridge Dictionary
790:unstressed syllables
685:Such is the case in
635:unstressed syllables
590:Proper lyric setting
410:grammatical function
265:Stress (linguistics)
249:sound pressure level
1489:Musical composition
1365:On Music Dictionary
870:Mis-stressed lyrics
489:Multisyllabic words
1427:has generic name (
1175:has generic name (
1069:Speaker Profiling.
1027:has generic name (
860:cognitive function
675:Secondary stresses
474:The pancakes were
414:syntactic function
381:cognitive function
22:is the process in
1262:978-0-7935-1180-8
1086:978-0-415-50650-2
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50:Pat Pattison
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1479:Vocal music
970:"Phonetics"
882:Distraction
499:grammatical
340:minor third
205:In speech,
24:songwriting
1473:Categories
938:References
928:adjectives
856:adjectives
758:note value
721:See also:
398:adjectives
338:, or even
297:Intonation
291:unstressed
230:See also:
169:intonation
157:Intonation
143:intonation
119:consonants
69:intonation
1271:cite book
1048:ThoughtCo
885:Confusion
668:intensity
653:intensity
495:cognitive
467:him, not
283:syllables
271:sentences
245:intensity
123:syllables
61:syllables
1457:April 3,
1417:cite web
1407:April 3,
1371:April 3,
1361:"Melody"
1344:April 3,
1249:(1991).
1228:29556206
1165:cite web
1155:April 2,
1053:April 2,
1017:cite web
1007:April 3,
980:April 5,
909:. These
836:metaphor
786:stressed
765:Dynamics
699:6/8 time
691:downbeat
687:3/4 time
660:4/4 time
631:Stressed
580:triplets
557:6/8 time
553:3/4 time
545:4/4 time
541:downbeat
529:language
421:articles
377:semantic
307:are all
305:dynamics
301:duration
287:stressed
253:decibels
237:Dynamics
226:Dynamics
207:duration
201:Duration
151:dynamics
147:duration
111:segments
77:dynamics
73:duration
1338:iZotope
1219:5844974
1145:"Tonic"
924:adverbs
852:adverbs
840:imagery
831:measure
795:prosody
780:Effects
737:contour
620:pitches
600:prosody
549:measure
416:, are:
403:adverbs
383:, are:
275:phrases
175:, is a
131:phrases
113:called
46:Prosody
40:prosody
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932:senses
926:, and
864:senses
854:, and
771:These
754:rhythm
618:, and
616:rhythm
604:melody
596:rhythm
533:rhythm
480:yours.
351:poetry
303:, and
259:Stress
241:volume
220:lyrics
216:poetry
149:, and
139:speech
115:vowels
75:, and
32:rhythm
28:lyrics
920:verbs
916:nouns
848:verbs
844:Nouns
829:of a
827:beats
746:tonic
733:lyric
731:in a
707:duple
608:tones
525:Music
476:mine,
393:verbs
388:nouns
347:meter
321:tonic
313:Pitch
279:words
173:pitch
171:, or
36:meter
1459:2020
1429:help
1409:2020
1373:2020
1346:2020
1296:WORD
1277:link
1257:ISBN
1224:PMID
1177:help
1157:2020
1082:ISBN
1055:2020
1029:help
1009:2020
982:2020
952:ISBN
838:and
788:and
709:and
673:The
633:and
612:mode
527:and
478:not
471:him.
469:past
463:Run
459:him.
457:not
455:you,
289:and
218:and
117:and
93:song
1385:PAT
1304:doi
1214:PMC
1204:doi
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497:or
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