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Though many recent poets insist on their poetry's "musical" qualities, few offer linguistically satisfying explanations of that "music". This book helps to fill that gap. It is a linguistically based study of rhythmic structures, and of the nature of rhythm, in the free verse of T.S. Eliot, Robert ...

Though many recent poets insist on their poetry's "musical" qualities, few offer linguistically satisfying explanations of that "music". This book helps to fill that gap. It is a linguistically based study of rhythmic structures, and of the nature of rhythm, in the free verse of T.S. Eliot, Robert Lowell, and James Wright. It was written for accessibility to readers who, although not necessarily specialists in linguistic poetics, have some knowledge of language and poetry.

The book begins with an examination of rhythm in language as a whole, and of rhythm as a basic mental structure. This discussion touches on concepts from metrical phonology, acoustic phonetics, Russian Formalist and New Critical ideas of rhythm and meter, and music theory. It then analyzes what the author (borrowing a phrase from Gerard Manley Hopkins) calls "rhythmic figures of sound", syntax, line structure, and intonation in the poetry of Eliot, Lowell, and Wright.

Although the book focuses on these three writers, other poets are considered -- notably Jimmy Santiago Baca, Denise Levertov, and Etheridge Knight -- in order to illustrate the way different dialects use different intonation patterns for poetic effect. The book also contextualizes contemporary poems with brief comparisons to work from previous centuries.

The author argues that in discussions of rhythm and its structures, the old-fashioned way of analyzing types of "metrical feet" proves less than useful, and that the relatively new field of metrical phonology also has serious limitations. Instead, he advances a new approach based on "figures of sound" or "figures of rhythm", both of which involve the repetition of some key linguistic component: asound, a sequence of sounds, a method of forming words, a phrase structure, a line structure, or an intonational melody (literally, a tune -- the movement of pitch through time).

In the simplest language possible, the autho

Now long out of print, John Dunning's Tune in Yesterday was the definitive one-volume reference on old-time radio broadcasting. Now, in On the Air, Dunning has completely rethought this classic work, reorganizing the material and doubling its coverage, to provide a richer and more informative ...

Now long out of print, John Dunning's Tune in Yesterday was the definitive one-volume reference on old-time radio broadcasting. Now, in On the Air, Dunning has completely rethought this classic work, reorganizing the material and doubling its coverage, to provide a richer and more informative account of radio's golden age. Here are some 1,500 radio shows presented in alphabetical order. The great programs of the '30s, '40s, and '50s are all here--Amos 'n' Andy, Fibber McGee and Molly, The Lone Ranger, Major Bowes' Original Amateur Hour, and The March of Time, to name only a few. For each, Dunning provides a complete broadcast history, with the timeslot, the network, and the name of the show's advertisers. He also lists major cast members, announcers, producers, directors, writers, and sound effects people--even the show's theme song. There are also umbrella entries, such as "News Broadcasts," which features an engaging essay on radio news, with capsule biographies of major broadcasters, such as Lowell Thomas and Edward R. Murrow. Equally important, Dunning provides a fascinating account of each program, taking us behind the scenes to capture the feel of the performance, such as the ghastly sounds of Lights Out (a horror drama where heads rolled and bones crunched), and providing engrossing biographies of the main people involved in the show. A wonderful read for everyone who loves old-time radio, On the Air is a must purchase for all radio hobbyists and anyone interested in 20th-century American history. It is an essential reference work for libraries and radio stations.