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One can also flip a specified stanza of lyrics above the staff (without flipping a different stanza) I found out to my surprise yesterday. So one could (as a workaround) use lyrics to try to finesse spoken unmeasured speech over hidden notes (if one can hide the notes but keep the spoken lyrics intact). One would still have to work to keep each phrase within the appropriate measure to anticipate system breaks handled differently in different layouts.

After about 30 years I think I might have finally figured out the correct lyrics to the spoken word section of Orange Crush. I've seen it reproduced incorrectly multiple times dating all the way back to early dial up message boards in the early 90's.

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Lyrical Faith (LF): I think when we learn poetry in school, we're used to seeing Shakespeare, Robert Frost, Mark Twain, Edgar Allan Poe. So that is what I learned from elementary school probably up until about the fifth grade. Then in sixth grade, I had an amazing teacher who introduced me to the art of spoken word poetry. Spoken word is a performance. It is something that, yes, of course, starts with the writing. But the writing is meant to somehow be transformed to this on-stage experience. The energy that the crowd gives the spoken word artist is the energy that they put back into the crowd. It's definitely something that's meant to be interactive.

LF: Lyrical Faith came about because I wanted to lean more into this artistic identity that I was molding as an undergrad at Syracuse University. My name, Imani, is a Swahili word for faith. So, I always had a connection to the word. If I just believed that I was good enough and that my work and my words were valuable, and deserved to be out into the world, then I could grow into this artist and voice that I'm longing to be.

EDUC: Can you share a little insight into the different ways you blend your passion for spoken word with your passion for education? Your resume includes poetry workshops on a range of topics, from symbolism and allegory to figurative language.

I'd like to know the best way to insert "lyrics" which are a chunk of spoken word text. What I want is non rhythmic words, i.e. words that are NOT generally aligned with the rhythm, BUT they do begin at a defined moment, which is NOT at the start of a measure. They continue through several measures of accompanying music.

There was some discussion of this several years ago but it's not clear to me what the best solution is with the present software. As stated there "using lyrics as a way of putting entire chunks of spoken text in an empty measure is really not a good use of that facility" but what's better these days?

I would enter them as staff text then select them. Look at the inspector and change the style to Lyric Odd lines so they will look like lyrics. The advantage of staff text is that it can be entered anywhere. I would expect that if the conversation starts on the 3rd beat there will be a half rest telling the speaker when to start speaking. I would also start a new staff text on every measure to show approximately where the speaker is in the score. You may need to put some invisible rests in voice 2 to make the measure long enough to accommodate the words so the measures will not run together.

I found it to be both lyrical and poetic (no pun intended) as well as real and wholly relatable. Xiomara is both fierce and real and someone I love reading about, and I am so happy her story was told.

According to common practice and oral tradition, learning verbal materials through song should facilitate word recall. In the present study, we provide evidence against this belief. In Experiment 1, 36 university students, half of them musicians, learned an unfamiliar song in three conditions. In the sung-sung condition, the song to be learned was sung, and the response was sung too. In the sung-spoken condition, the response was spoken. In the divided-spoken condition, the presented lyrics (accompanied by music) and the response were both spoken. Superior word recall in the sung-sung condition was predicted. However, fewer words were recalled when singing than when speaking. Furthermore, the mode of presentation, whether sung or spoken, had no influence on lyric recall, in either short- or long-term recall. In Experiment 2, singing was assessed with and without words. Altogether, the results indicate that the text and the melody of a song have separate representations in memory, making singing a dual task to perform, at least in the first steps of learning. Interestingly, musical training had little impact on performance, suggesting that vocal learning is a basic and widespread skill.

Spoken word has existed for many years; long before writing, through a cycle of practicing, listening and memorizing, each language drew on its resources of sound structure for aural patterns that made spoken poetry very different from ordinary discourse and easier to commit to memory.[2] "There were poets long before there were printing presses, poetry is primarily oral utterance, to be said aloud, to be heard."[3]

In ancient Greece, the spoken word was the most trusted repository for the best of their thought, and inducements would be offered to men (such as the rhapsodes) who set themselves the task of developing minds capable of retaining and voices capable of communicating the treasures of their culture.[17] The ancient Greeks included Greek lyric, which is similar to spoken-word poetry, in their Olympic Games.[18]

Vachel Lindsay helped maintain the tradition of poetry as spoken art in the early twentieth century.[20] Composers such as Marion Bauer, Ruth Crawford Seegar, and Lalla Ryckoff composed music to be combined with spoken words.[19] Robert Frost also spoke well, his meter accommodating his natural sentences.[21] Poet laureate Robert Pinsky said: "Poetry's proper culmination is to be read aloud by someone's voice, whoever reads a poem aloud becomes the proper medium for the poem."[22] "Every speaker intuitively courses through manipulation of sounds, it is almost as though 'we sing to one another all day'."[9] "Sound once imagined through the eye gradually gave body to poems through performance, and late in the 1950s reading aloud erupted in the United States."[21]

Some American spoken-word poetry originated from the poetry of the Harlem Renaissance,[23] blues, and the Beat Generation of the 1960s.[24] Spoken word in African-American culture drew on a rich literary and musical heritage. Langston Hughes and writers of the Harlem Renaissance were inspired by the feelings of the blues and spirituals, hip-hop, and slam poetry artists were inspired by poets such as Hughes in their word stylings.[25]

The Civil Rights Movement also influenced spoken word. Notable speeches such as Martin Luther King Jr.'s "I Have a Dream", Sojourner Truth's "Ain't I a Woman?", and Booker T. Washington's "Cast Down Your Buckets" incorporated elements of oration that influenced the spoken-word movement within the African-American community.[25] The Last Poets was a poetry and political music group formed during the 1960s that was born out of the Civil Rights Movement and helped increase the popularity of spoken word within African-American culture.[26] Spoken word poetry entered into wider American culture following the release of Gil Scott-Heron's spoken-word poem "The Revolution Will Not Be Televised" on the album Small Talk at 125th and Lenox in 1970.[27]

In the 1980s, spoken-word poetry competitions, often with elimination rounds, emerged and were labelled "poetry slams". American poet Marc Smith is credited with starting the poetry slam in November 1984.[18] In 1990, the first National Poetry Slam took place in Fort Mason, San Francisco.[29] The poetry slam movement reached a wider audience following Russell Simmons' Def Poetry, which was aired on HBO between 2002 and 2007. The poets associated with the Buffalo Readings were active early in the 21st century.

Outside of the United States, artists such as French singer-songwriters Lo Ferr and Serge Gainsbourg made personal use of spoken word over rock or symphonic music from the beginning of the 1970s in such albums as Amour Anarchie (1970), Histoire de Melody Nelson (1971), and Il n'y a plus rien (1973), and contributed to the popularization of spoken word within French culture.

In Zimbabwe, spoken word has been mostly active on stage through the House of Hunger Poetry slam in Harare, Mlomo Wakho Poetry Slam in Bulawayo as well as the Charles Austin Theatre in Masvingo. Festivals such as Harare International Festival of the Arts, Intwa Arts Festival KoBulawayo and Shoko Festival have supported the genre for a number of years.[33]

In Ghana, the poetry group Ehalakasa led by Kojo Yibor Kojo AKA Sir Black, holds monthly TalkParty events (collaborative endeavour with Nubuke Foundation and/ National Theatre of Ghana) and special events such as the Ehalakasa Slam Festival and end-of-year events. This group has produced spoken-word poets including Mutombo da Poet,[34] Chief Moomen, Nana Asaase, RhymeSonny, Koo Kumi, Hondred Percent, Jewel King, Faiba Bernard, Akambo, Wordrite, Natty Ogli, and Philipa.The spoken-word movement in Ghana is rapidly growing that individual spoken-word artists like MEGBORNA,[35] are continuously carving a niche for themselves and stretching the borders of spoken word by combining spoken word with 3D animations and spoken-word video game, based on his yet to be released poem, Alkebulan.

In Kumasi, the creative group CHASKELE holds an annual spoken-word event on the campus of KNUST giving platform to poets and other creatives. Poets like Elidior The Poet, Slimo, T-Maine are key members of this group.

Spoken-word poetry is typically more than a hobby or expression of talent. This art form is often used to convey important or controversial messages to society. Such messages often include raising awareness of topics such as: racial inequality, sexual assault and/or rape culture, anti-bullying messages, body-positive campaigns, and LGBT topics. Slam poetry competitions often feature loud and radical poems that display both intense content and sound. Spoken-word poetry is also abundant on college campuses, YouTube, and through forums such as Button Poetry.[38] Some spoken-word poems go viral and can then appear in articles, on TED talks, and on social media sites such as Twitter, Facebook, and Instagram. ff782bc1db