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<!--StartFragment--><p class="MsoNormal">Hello, <o:p></o:p></p><p class="MsoNormal"><o:p> </o:p></p><p class="MsoNormal">I like to differentiate between what I consider awkward text
setting and what is more idiomatic or vernacular. For example, The Kinks’ example cited in this
thread, I think, belongs to the latter category. Much popular music of the last fifty (or
sixty or hundred) years owes a debt to and is at least partially within what
Anthony Braxton has called “the Trans-African Continuum.” Ray Davies of The Kinks, like all British rock
musicians of the era, was heavily influenced by African American blues and
rhythm and blues. Text setting in much
popular music has what could be considered to be irregular accent patterns that
are a part of, in addition to being a result of, the fundamentally syncopated
foundation of the music. Thus, rather
than hear the accents on unstressed syllables as unusual or “bad” text setting,
I prefer to hear them as integral to the music.
Moreover, this “freedom” to not maintain regular accent patterns allows
for a subtlety in semantic emphasis that can arise simply from the metric
setting. <o:p></o:p></p><p class="MsoNormal"><o:p> </o:p></p><p class="MsoNormal">When my son was a toddler, I read to him from a collection
of African American verse (I am on vacation and don’t have the title with me)
edited by Faustin Charles. This entry is attributed to be from Trinidad and
Tobago:<o:p></o:p></p><p class="MsoNormal"><o:p> </o:p></p><p class="MsoNormal">One, two, three, four,<o:p></o:p></p><p class="MsoNormal">Johnny hiding behind the door.<o:p></o:p></p><p class="MsoNormal">Four, five, six,<o:p></o:p></p><p class="MsoNormal">Mammy catch him and stop his tricks.<o:p></o:p></p><p class="MsoNormal"><o:p> </o:p></p><p class="MsoNormal">This reminded me of a 19<sup>th</sup>-C British nursery
rhyme:<o:p></o:p></p><p class="MsoNormal"><o:p> </o:p></p><p class="MsoNormal">One, two, three, four,<o:p></o:p></p><p class="MsoNormal">Mary at the cottage door.<o:p></o:p></p><p class="MsoNormal">Five, six, seven, eight,<o:p></o:p></p><p class="MsoNormal">Eating cherries off a plate.<o:p></o:p></p><p class="MsoNormal"><o:p> </o:p></p><p class="MsoNormal">In the Trinidadian version, you can recite the verse in
regular metre and accent patterns if you use a triplet subdivision. This already is different than the
straight-eighth subdivision of the British version. However, when I found myself starting to sing
this Trinidadian rhyme to my son, I noticed that I was using a syncopated time
feel where the syllables floated around the beat: JOHN-ny hid-IN’ be-HIND the
DOOR. There is almost a double-time
metric feel in this interpretation.<o:p></o:p></p><p class="MsoNormal"><o:p> </o:p></p><p class="MsoNormal">Now, I am not Trinidadian, African American or even
American, but I do think that this “democratization of the beat” and its
concomitant variable syllabic stresses, is a hallmark of many popular music forms
and I prefer not to hear this fundamental attribute of the music as misplaced
syllabic stresses or “bad text setting.”
<o:p></o:p></p><p class="MsoNormal"><o:p> </o:p></p><p class="MsoNormal"><o:p> </o:p></p><p class="MsoNormal">Ken Morrison<o:p></o:p></p><p class="MsoNormal">Department Head of Music and Dance<o:p></o:p></p><p class="MsoNormal">Vancouver Community College<o:p></o:p></p><p class="MsoNormal">Vancouver, BC<o:p></o:p></p><p class="MsoNormal"><o:p> </o:p></p>
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