Towards a Typology of Poetic Forms -- Editorial page -- Title page -- LCC data -- Table of contents -- Contributors -- Acknowledgments -- Introduction -- 1. Introduction -- 2. Metrical typologies -- 3. Isochronous metrics -- 3.1 Properties of isochronous meters -- 3.2 Musical Textsetting -- 4. Prosodic Metrics -- 4.1 Classification -- 4.2 Cæsura, line ending, bridge and alliteration -- 5. Para-metrical phenomena -- 6. Macrostructural metrics -- 6.1. Rhymes -- 6.2 Stanzas -- 6.3 Prescribed forms -- 7. Presentation of the volume -- References -- Part I Isochronous metrics -- Textsetting as constraint conflict -- 1. Introduction -- 2. Halle and Lerdahl's analysis -- 3. Evaluating the syllabic distribution algorithm -- 3.1 Leftward greed -- 3.2 Squeezing the Stressless Syllables -- 3.3 More than four stresses -- 3.4 Consecutive stressed syllables -- 3.5 Altering stress? -- 4. Toward an alternative -- 5. Analysis: Constraints and ranking -- 6. Analysis: Assessment -- 7. Postscript: More metrics needed -- References -- Comparing musical textsetting in French and in English songs -- 1. Preliminaries -- 2. Prominence matching in English -- 3. Prominence matching in French -- 4. Positional parallelism in strophic songs -- 5. Conclusions -- References -- Bavarian Zwiefache -- 1. Introduction -- 2. The interface between rhythm, metrics and song -- 3. Language-based hypothesis about the emergence of Zwiefache -- 4. Preconditions for the language-based hypothesis -- 5. Empirical study -- 5.1 Corpus -- 5.2 Categories for quantifying the linguistic foundation of Zwiefache -- 5.3 Results -- 5.4 Interpretation -- 5.4.1 Rule of Natural Text Setting for the Zwiefache -- 5.4.2 Parallel evidence I: German rap -- 5.4.3 Parallel evidence II: English folk songs -- 5.4.4 Supporting the diachronic argument: Text setting in the older stages of German -- 6. Conclusions.

References -- Natural versification in French and German counting-out rhymes -- 1. Introduction -- 1.1 Claims predicting universals of metrical form -- 1.2 Claims predicting cross-linguistic differences -- 1.3 Some general properties of counting-out rhymes -- 2. French counting-out rhymes -- 2.1 Data -- 2.2 Results -- 2.3 Comparative remarks -- 3. High and low German counting-out rhymes -- 3.1 Data -- 3.2 Results -- 3.2.1 Ternary feet -- 3.2.2 Word-internal stress clash -- 3.2.3 The distribution of nonce words -- 4. Conclusion -- References -- Primary sources -- Further references -- Minimal chronometric forms -- 1. Chronometric and glossometric -- 2. Isochronous notation, metrical instants and strokes -- 2.1 Isochronous notation -- 2.2 Metrical instant and stroke -- 2.3 Durational equivalence and superimposed isochronies -- 3. The strict chronometric minimum: Three vowels? -- 3.1 The 3-stroke group as an a priori metrical minimum -- 3.2 Several metrical 3-stroke groups -- 4. The 2-2-stroke group as a metrical minimum -- 4.1 The 4-stroke group -- 4.2 stroke binary structure -- 5. Regularisation of the interval of the 2-2-stroke group -- 6. Linear combination into open sequences -- 7. Linear combination into a (bounded) group or (indefinite) sequence -- 8. Non-linear combination by development -- 9. Ambivalence and rhythmic switch-over -- 10. Development of rhyme -- References -- Symmetry and children's poetry in sign languages -- 1. Introduction -- 2. Symmetry in poetry: A review of the literature -- 2.1 Children's oral folklore -- 2.2 Signed poetry -- 3. Examining children's signed register and its theoretical implications -- 3.1 Children's poetry -- 3.2 The tortoise and the hare fable: An LSQ version -- 3.2.1 Discourse Motif -- 3.2.2 Spatial Motif -- 3.2.3 Rhythmic Motif -- 3.2.4 Mirror effect -- 4. Conclusion and discussion -- References -- Videos.

Part II Prosodic metrics -- Pairs and triplets -- 1. Introduction: Lineation -- 2. English metrical verse: Counting and rhythm -- 3. Lines of different lengths -- 4. Some traditional accounts of English meters -- 5. The simple meters of French verse -- 6. The compound meters of French -- 7. Conclusion -- References -- Generative linguistics and Arabic metrics -- 1. Introduction -- 2. The basīṭ meter -- 3. Raǧaz and the Greek iambic trimeter -- 4. Sarī' between raǧaz and basīṭ -- 5. What does an "optimal" Arabic verse-pattern look like? -- List of symbols in Table 22 -- References -- On the meter of Middle English alliterative verse -- 1. What sets Middle English alliterative verse apart from other vernacular verse? -- 2. Informal accounts of the "alliterative revival" meter -- 3. Philological issues in reconstructing phonological representations -- 4. The repertoire of patterns -- 5. What makes a b-verse metrical? -- References -- The Russian Auden and the Russianness of Auden -- 1. Introduction -- 2. Background assumptions and Auden's meter -- 3. Why Brodsky ESCHEWS the dol'nik in this case -- 4. Why Brodsky used hexameter -- 5. Conclusion -- References -- Appendix: Brodsky's iambic hexameter -- Towards a universal definition of the caesura -- 1. Introduction -- 2. The caesura in the dactylic hexameter and the iambic trimeter -- 3. The metrical structure of the dactylic hexameter and the iambic trimeter -- 3.1 Positions and subpositions -- 3.2 The foot: Resolution and contraction -- 3.3 Metrical trees -- 4. The contour contrasts of the dactylic hexameter and the iambic trimeter -- 4.1 Contour contrasts between the clausula and the expansion -- 4.2 Contour contrasts between metron 1 and metron 2 -- 4.3 Contour contrasts between strong and weak feet -- 4.4 Contour contrasts between strong feet (hexameter) or weak feet (trimeter).

4.5 Contour contrasts between strong and weak positions -- 5. The location of the caesura -- 5.1 Synthetical and analytical caesuras -- 5.2 The caesura and the verse design -- References -- Metrical alignment -- 1. Introduction -- 2. European decasyllables -- 2.1 The English iambic pentameter -- 2.2 The Italian endecasillabo -- 2.3 The French décasyllabe -- 3. Alignment in grammar -- 4. Metrical "exceptions" -- 4.1 Inversion -- 4.2 Extrametricality -- 5. Conclusion -- Principal references -- Rephrasing line-end restrictions -- 1. Introduction -- 2. A contradiction in standard analyses -- 3. The role of intonational primitives -- 4. Unstressed disyllables and the preference for paroxytonic lines -- 5. Some general considerations -- References -- Part III Para-metrical phenomena -- Pif paf poof -- 1. Introduction -- 2. Why counting-out rhymes? -- 3. The corpus and methodological issues -- 3.1 Construction of the corpus -- 3.2 The identification of AR sequences -- 3.3 Nonsense syllables -- 3.4 The database -- 4. Findings -- 4.1 Frequency of AR sequences in counting-out rhymes -- 4.2 Vowel contrasts -- 4.2.1 Overall frequencies by segment -- 4.2.2 Vowel contrasts in binary sequences -- 4.2.3 Vowel contrasts in ternary sequences -- 4.3 Discussion -- 5. Reduplication and rhythm -- 6. Conclusion -- References -- Primary sources -- Further references -- Appendix: Counting-rhyme corpus -- Indo-European (322/1824) -- Non-Indo-European (24/60) -- The phonology of elision and metrical figures in Italian versification -- 1. Introduction -- 2. Elision in Italian phonology -- 3. Examination of the corpus -- 4. Conclusions -- References -- Part IV Macrostructural metrics -- Convention and parody in the rhyming of Tristan Corbière -- 1. Les amours jaunes -- 1.1 Floating consonants other than s, x, z -- 1.2 The floating consonants s, x, z -- 2. The marginalia.

3. Conclusion -- References -- The metrics of Sephardic song -- References -- A rule of metrical uniformity in old Hungarian poetry -- Terminological clarification -- The Iso-rule -- The Iso-rule at the syllable count level -- The Iso-rule at the rhyme level -- The Iso-rule at the stanza level -- A regional level Iso-rule? -- Another principle of composition: The "magyaresque" -- A musical parallel: The music of recruits or "verbunkos" -- Summary -- References -- Metrical structure of the European sonnet -- 1. Preliminaries -- 2. Italian sonnet (abba, abba, cde, cde) and French sonnet (abba, abba, ccd, eed) -- 2.1 Octave and Sestet -- 2.2 Hierarchical form and structural form -- 2.3 Justification of levels -- 2.3.1 Octave and Sestet -- 2.3.2 Quatrains vs. Tercets -- 2.3.3 Tercets vs. Modules -- 2.3.4 Main Rhymes vs. Secondary Rhymes -- 2.3.5 Unmarked Rhymes level -- 2.4 A few words on the French form -- 3. Italian sonnet (abba, abba, cdc, dcd) and French sonnet (abba, abba, ccd, ede) -- 3.1 Italian sonnet (abba, abba, cdc, dcd) -- 3.2 French sonnet (abba, abba, ccd, ede) -- 4. English sonnet -- 4.1 Shakespearian sonnet -- 4.2 Spenserian sonnet -- References -- Persons -- Languages -- Subjects -- The Language Faculty and Beyond series.