Igor Pilshchikov

New Applications of Jakobson’s “Broad Metrics”: Sung Poetry and Dual-Metered Verse

Introduction

New applications of jakobson’s “broad metrics”: sung poetry and dual-metered verse. Extends Jakobson's "broad metrics" to sung poetry, introducing musical meter/rhythm and Lotman's secondary meter for dual-metered verse. Analyzes Soviet-era songs.

Abstract

meter and rhythmThis article extends Roman Jakobson’s framework of “broad metrics” to sung poetry. Building on his dichotomies of verse design/instance (poetic meter and rhythm) and delivery design/instance (recitation rules and performance), it proposes an additional dyad: musical design/instance (musical meter and rhythm), which often diverge from verse patterns. The study also incorporates Mihhail Lotman’s concept of secondary meter to account for dual metricity in verse. Analysis of sung texts with dual-metered verse structures – such as but not limited to hyperpaeonic syllabotonic meters – shows how verse and music coalesce to shape delivery rhythms that may oscillate between multiple meters. Whenever this occurs, the choice of a particular rhythmic variant is conditioned by the delivery design (performance strategy). The model is substantiated by case studies of three Soviet-era songs.

Review

This article presents an ambitious and theoretically sophisticated extension of Roman Jakobson’s "broad metrics" framework, specifically adapting it to the nuanced complexities of sung poetry. By introducing a crucial "musical design/instance" dyad to complement Jakobson's existing distinctions of verse and delivery, and by integrating Mihhail Lotman’s concept of secondary meter, the authors promise a more comprehensive model for analyzing the intricate interplay between poetic, musical, and performance dimensions. This expansion is highly pertinent, addressing a significant analytical gap in understanding how these elements coalesce or diverge in sung verse, and thus offers a valuable theoretical advancement to the fields of poetics, musicology, and performance studies. A key strength evident in the abstract is the robust theoretical architecture proposed, which layers the newly introduced musical dyad onto Jakobson’s original concepts of design/instance. The focus on "sung texts with dual-metered verse structures," particularly exemplified by "hyperpaeonic syllabotonic meters," suggests a commitment to rigorous analysis of challenging and often under-examined cases. The central claim — that verse and music coalesce to shape delivery rhythms which may oscillate between multiple meters, with choices conditioned by performance strategy — is both insightful and provides a clear analytical mechanism for interpreting complex rhythmic phenomena. The substantiation through case studies of three Soviet-era songs offers concrete empirical grounding for the theoretical claims. This article holds substantial promise for deepening our understanding of metrical interactions in sung poetry, offering a robust framework for scholars across literary studies, musicology, and performance studies. While the abstract effectively outlines the theoretical advancements and analytical approach, a brief clarification on the precise characteristics of "hyperpaeonic syllabotonic meters" for a broader interdisciplinary audience, and the selection rationale for the specific Soviet-era songs, could further enhance the accessibility and perceived generalizability of the model. Overall, this is a highly welcome and timely contribution that promises to stimulate significant new research into the intricate rhythmic dynamics of sung verse.

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