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Why can't some people dance?
Thanks for the A2A, Jay Yadawa . I’m going to answer “Why can’t some people dance?” on the basis/assumption that everyone physically can if they want to, but for some reason, they “cannot even if they want to”.Before I answer, let me indulge a little in my dancing background:I’m 31. I started entertaining the idea of being a dancer when I was about 13 to Britney’s “Baby One More Time” on the stereo in my cousin’s living room to dismal—if not hilarious—effects.It was not until the ripe-old age of 18, during college, that I found music I liked listening to, rhythm and beats that made me feel like moving my body.It was only then I started dancing in public, but usually at festive events, parties or clubs. Even so, I don’t really dance by myself in my room, unless I wanted to practise a specific move.I currently dance various genres, such as Lindy Hop, Blues, and a mash-up of things I picked up from my Ballroom and Social Dance courses back in university. I have also tried Ballet, Capoeira (Angola & Regional), Hip Hop, Modern Dancing, African Tribal Dancing, Contact Improv, Tap Dancing and what have you.I used to club quite a lot as well, and music DJs have specifically invited me to their shows just because I would be the odd partygoer who’d station herself by the DJ booth to get the party started…..for the rest of the eveningIn terms of skills, I have joined small competitions, and although I have won mainly bragging rights, what pleased me the most was when I was asked by dance instructors to teach.I don’t hold classes, but I have joined many beginners classes for the purpose of observing myself and others, as well as guide newbies to get comfortable with the music and rhythm. This also helps in understanding the very crucial partner connection in a dance.I find that how we interact in a partnered dance also reflects on how we view interpersonal communication in general. So, for me, dancing helps better myself as an individual and relationship partner as well.Moving on, if you want a summary of my following essay, feel free to scroll right to the bottom.So, why can’t some people dance?I used to wonder about this phenomenon myself years ago, when I first started dancing.You see, I’m not exactly the best dancer on Earth. As natural as many might consider me to be, I had my awkward start as well. Yet, give me the right tune and rhythm and beats,and you’ll have a hard time trying to keep me still or holding this conversa—A brief interruption:Now, besides the music factor (re: above) and the whole confidence factor which can be overcome through regular practice……I would like to address what’s most obvious to me whenever I dance, socially, with certain people (including those who are not beginners with the technique):A) THEIR OBSESSION WITH PERFECTION / FEAR OF LOOKING SILLYAs a preamble, I think when most people (especially who aren’t natural dancers) think of what it means to dance, they think of the above two examples (of solo dancing) or that a good dancer must be able to achieve the level as seen here:But what most people, especially those with a perfectionist or competitive streak, don’t seem to realise (or may forget sometimes) is that good dancing can also be as simple as this:As you can see, the couple above genuinely enjoy each other’s company and the music they groove to; they prioritise fun over any structure that’s traditionally or conventionally considered to be ideal. The same concept goes for the following mano-a-mano friendly dances:Rikard and Nathan at BIG BANG SWING 2018 << sorry you gotta watch this on FacebookA different same-sex partnered dance, Lindy-Hop style:Paradoxically, just by messing around or up a little, going with the rhythm and beats organically, we make something even more beautiful to watch or to experience, than if we were to try hard to perfect our every step or move.This brings me to my second point, which is…B) THEY TEND TO THINK TOO MUCHYes, I know we’ve read this advice a million times elsewhere that it’s a cliche. But what it means is that we need to remember that dancing as a sport is a visceral, bodily one. It’s not an intellectual, mind-driven activity. If you want to think about your steps, do it before or after you perform or sparingly as you go with the flow of the music, not during the dance. (Otherwise, whoever is dancing with you or watching you can tell that you’re busy calculating or are lost in your head. You’re not present, basically.)The music dictates your dance moves, so pay attention and match your body to its language.This would also mean you need to trust your body to know instinctively what to do. You would need to listen to what it has to “say” through its interpretation of the music you hear, and just do it, so that you won’t…C) [THEY] MOVE WHEN [THEY] DON’T FEEL LIKE ITDancing is highly emotional. So you also need to pick music which resonates with you, in the moment.But do not confuse this with the common excuse of “Oh, I don’t feel like dancing, so I won’t even try.” Oftentimes, we need to get ourselves moving to properly feel or get into the groove of things. You need to fight the inertia of your comfort zone.D) THEY LET THEIR FEAR / EGO GOVERN THEMThis ties in with Point A and B.That said, while we do dance best when we “feel” like it, we grow best as dancers when we give any genre or move/technique a chance. Even if you’re very experienced in one type of dance, you’ll see that your dance vocabulary for that particular dance expands and that you formulate your own signature style when you break old habits and really try to move your body in new or different ways—made possible only when you pick up different genres, movements and/or steps.Moral: If you don’t try, you won’t know; if you don’t fail, you won’t grow.E) THEY ARE AFRAID OF INTIMACYThis is especially common with those who grew up in conservative, traditional communities. Oftentimes, they’re conditioned to think that intimate physical contact is taboo and should be a sacred exchange between committed or married romantic partners. Or, basically, you shouldn’t simply touch random strangers, or let them “feel you up” in any “inappropriate” manner. And you shouldn’t also touch or express yourself in “inappropriate” ways.I talk a bit more about this concern in the summary below.SUMMARYCommon reasons why anyone who is biologically fit and/or able “can’t dance” (and how to deal with them):NervesBreathe. Really, really breathe.Relax.Pick up yoga to improve bodily awareness, to get comfortable in your own skeleton and skin, and to really stay in the moment/be present.Self-consciousness/ShynessSir Think-a-lot should try to relax first, and concentrate on the music. Listen to what the body is saying in response to the music.Just do it.Especially to music you like or enjoy.Seriously.Fear of intimacyIn certain cultures or family upbringing, people are conditioned to fear their own sensuality or sexuality, or that of the other whose energy they are exchanging with (even if it’s just a dance or creative performance).I understand that this psychological or mental block is not easy to overcome, but it must be done, one way or another, to freely express oneself physically to the fullest.One needs to remember that our creative energy at its most potent is highly sexual, and it’s neither a positive nor negative thing.Energy alone is impartial to morality or human judgement. It is what it is.Your intent is to create, based on what you sense: Stay focused on that intention, while remaining detached yet fully engaged in the pure artistry of the music and dance, and you will create simply that: a pure and beautiful work of art.Technicalities over InstinctsBeginner dancers tend to concentrate on their footsteps or what’s being taught to them. By doing this, they end up leading with their heads/brains instead of their chests/hearts/body.Yes, you should understand well the principles of any dance, and learn all you can theoretically. But you must always remember to find the fun in anything you do.Kinesthetic intelligence is not exclusive to raw talent and can be honed, by constantly letting go in the moment.There is such a thing as over-practice: it usually has to do with perfectionism. So embrace the possibility of failure, or failure itself, and dive deep. Let it go.Trust your instincts.You can’t dance and analyse at the same time.Improvise as much as you can, but only when it feels right.Trying too hard / ImpatienceJust go with the flow. Go with what you’re comfortable with, and experiment gradually, one step at a time.It’s easy to try to do too much, too quickly, out of eagerness/over-excitement (or, again, fear of failure).Master the basics before trying to pull anything fancy. Know your foundation above all else.Lacking experienceFor beginners, often it’s also a case of not trying often enough or hard enough.You’ve got to put yourself out there, no matter what happens (or has happened before).Sometimes, even the most experienced of us can still commit any of the above mistake, especially when we take our dance skills for granted.Never get proud or over-confident: Keep your ego in check. There’s always something to learn from the people or movements or dancers around you.Always be open to learning, even if others (or you) think what you see is lame.Overall, the solution to all of the above, the fine balance which we all seek, is something we can only find through experience, awareness and wisdom.So keep dancing, my friend; you can do it!I hope this helps; let me know if you’d like any edits or elaboration.Also read:Jolin Kwok's answer to How can I get better at dancing and how can I know I'm getting better?
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How I create backlinks for my website?
"Backlinks," meaning sites that link to your site, are, for most search engines, the supreme ranking factor. So is getting more organic traffic.read this article to knowGenerating quality backlinks can be hard work, but it doesn’t have to be. Here are 25 ways to build (or earn) backlinks.1. INTERNAL BACKLINKSIn our introduction above, we mentioned that backlinks are the term best associated with external links to your site and pages, but internal links also match the term. All backlinks contribute to the way search engines interact with your website because they help the site crawlers used to develop and update search engine indexes understand how your content relates to content on other websites.Internal links contribute to developing a great user experience because visitors can easily navigate your site and find relevant articles that add to or match the page they’re already viewing. This is paramount in SEO because it allows you to retain visitors: instead of typing in another search query to find additional, relevant information, you’re providing a means for them to find it on your site.One of the most common ways this will play to your advantage is if your content contains technical terms relevant to your industry. You want readers to understand your writing, but adding a definition to the first instance of every technical term makes for a messy content structure.That’s why you’ve got another page going into detail on that term because it’s relevant to your industry and your target market. Turning the first instance of a technical term on your page into anchor text containing an internal backlink to the definitions page, you ensure that your readers have everything they need right at hand.Be careful not to overload your pages with internal links, though. A good rule of thumb is to keep backlinks per page down to below 100, and you want to include external links to the count (you’ll see why in a bit).2. GUEST POSTINGIt may sound like you’ll just be helping another site build their resources and generate more views for themselves, but this is very much a case of helping each other out. After all, guest posting is very different from ghostwriting. As a ghostwriter, you get no credit for the content whatsoever. But every guest post is entirely credited to the writer, not the hosting site.Of course, this does help the host site to generate views, but that’s okay for the guest writer because more often than not it includes a backlink to your site. Guest posting is one of those cases where it’s not only about generating a backlink to improve your search engine index ranking for SERPs, which shouldn’t be your only focus at all. This is a great way of getting your name out there, making your content available to new readers and winning increased online visibility. Guest posting, most especially for authoritative sites in your industry, builds your reputation online in a big, big way.But it can take a long time to find opportunities to create guest posts if you go about it the wrong way. One sure means of discovering fresh, relevant opportunities is to make use of sites like Twitter. By using the search function, you can quickly find authoritative sites that are looking for guest post contributors on a regular basis. Just type “your niche” + guest post (for example “SEO” + guest post) and scan the results for new opportunities.3. HELP A REPORTER OUT (HARO)Help A Reporter Out (HARO) is a fantastic online resource for generating backlinks on authoritative news sites. All you need to do is sign up as a source, which takes less than a minute to do, and you’ll get three emails a day every Monday through Friday (at 05h35, 12h35, and 17h35 ET). These are the source requests, which is a list of articles that reporters need information for.Each one includes a summary (usually the intended headline for the article), the topic category, and the email address of the journalist (which is where you’ll be sending the information to). It will also include the name of the site where the article will be published, the reporter’s deadline, and a description detailing what kind of information they need.Of course, you’re not going to be able to contribute to every single query. For one thing, there can be over a hundred per email you receive, and not all of them are going to be relevant to your industry. All you have to do is scan through the list to find ones covering your area, and then send a contribution pitch to the reporter’s masked email!In your pitch, you’re going to include your answer to the journalist’s query and your contact information—which can include a link to your site.You’re not guaranteed to get a backlink from every single HARO query you answer because the journalist might not use the information you provide. After all, he/she is going to be receiving many responses, and some may be more relevant than others. But more often than not, you’ll be rewarded with a backlink on a high-ranking site.4. BLOG AND FORUM COMMENTSEverybody finds themselves turning to the blogs they follow for information, but sometimes readers want or need something more than what the post has to offer. This is where you step in. Find blogs that cover your industry, whether directly or by posting on some of the products and (or) services that form part of your own, and start following them. There are a lot of reasons for you to do so, and we’ll talk more about them later on in this article, but one of the easiest ways doing so can help you build backlinks is by going through the comment section.Many bloggers (and we’re including vloggers on sites like YouTube) often invite their readers to ask questions or add their opinions, stories, and ideas in the comment section. Questions are often responded to by the original poster themselves, and most bloggers will try to answer to every comment, but often some of the best answers come from other readers. And this is where you step in.First off, if you notice there’s information missing or that isn’t covered very well in the post, you can make a suggestive comment providing that information. And by reading through other readers’ questions, you can also find opportunities to provide answers.Sometimes, you’ll find that the answer another reader is looking for is too long to post as a comment. Use these opportunities to provide a summarized answer, and end with a link to your article.Another place the public turns to are forums such as Yahoo Answers and Google Groups, as well as industry (or even product) specific options. These offer much the same opportunity as the blog comment section does.5. TESTIMONIALSAll companies, big and small, love showing off the testimonials they’ve received from their clients. In fact, you’ll notice that most business sites showcase a few select testimonials on their homepage, and a few have whole pages dedicated to customer reviews (which always have a link on the homepage—usually something like “customer success stories”). Here’s an example of what a testimonial page looks like.So how do you turn this into an easy method for earning quality backlinks for your site? The first step is to sit down and make a list of products and services you’ve used recently. A good rule of thumb is to think of those you’ve used regularly (or started using) over the past six months. This can take some time, and will likely be an ongoing process, but it’s by far the longest part of this method.Next, you’ll want to see whether or not their sites have a testimonial page. If they do, spend a few moments writing up a short, positive review of your experience using the product or service, and signNow out to them. Most sites have a feedback feature or will include an email account for testimonials on their contact page.And that’s it! You won’t even have to ask for a link because almost every single time they’ll include it automatically—just to prove that you’re a real person. Be sure to mention that they’re allowed to use your testimonial on their homepage, as that’s where your link will get the most exposure.6. BLOGGER REVIEWSTestimonials on other sites are an excellent way to generate backlinks, but there’s also an equally good option that allows for testimonials on your product or service to be a backlink source to your site.How so? By offering it to bloggers in your industry free of charge. While this isn’t exactly a free means of building backlinks, the cost is very minimal, and the results should pay for themselves rather quickly.So what you want to do is search for bloggers who do provide some reviews for products and services in your industry. Narrow the results down to the most official ones before moving onto the next step.This is where you want to make an offer. Follow this guide:Start off with a friendly greeting, and mention that you were looking for articles on your topic when you found their post. Compliment them on their content, and then let them know that you provide a product or service that matches the subject. Mention what you usually charge, and then say that you’d like to offer it to them free of charge. All you’d like in return is for them to consider making a mention of your business on their blog or possibly do a review.If they’re interested, they’ll get back to you. One thing you should be aware of is that this method isn’t guaranteed to work every single time because you can’t force the bloggers to write a positive review—you’re signNowing out to them in good faith. You want to be very careful in the way you contact them as well because explicitly asking for a link (or even a review) is a violation of Google’s Webmaster Guidelines.7. THE MOVING MAN METHODThe Moving Man Method is one of the easiest ways to build high-quality backlinks to your website from authoritative sources. Sometimes, a big name company or service provider goes out of business. This process can happen for any number of reasons, including internal politics or bad management. Sometimes the company name is linked to the founder, and the business shuts down after they retire or pass away.While they were operational, however, they provided quality content on their site, which generated a lot of backlinks from other websites. Usually, these sites are shut down as well, and the domain name isn’t renewed, but some companies (primarily recognized leading experts) have registered their domain names a couple of years in advance. When the business goes bust, the site remains online, but usually, the content will be removed. This means that the backlinks they’ve built will still work, but will direct users to blank pages.At other times, the site content remains online but is no longer being updated.To find examples, you’ll need to find authoritative sites that contain a lot of links to other pages. Using Domain Hunter Plus, you can see which of these links lead to sites that load blank pages. Next, you’ll use a program like Ahrefs to download a list of all the backlinks pointing to that site.This is where you start generating backlinks to your site. If you’ve got content that caters to the same demand that the defunct site used to, you can signNow out to the sites containing backlinks to them and let them know that the link is no longer operating correctly because the other site has been taken down. Offer them a resource on your site as a replacement, and chances are very likely that you’ll be awarded a quality backlink.8. BROKEN LINKSThis technique is very similar to the Moving Man Method, except instead of looking for links that are old or blank pages you’re looking for links that give a 404 error. If you’ve spent any time on the internet at all, the chances are high that you’ve come across a 404 error a couple of times at least. When a site has been taken down entirely, existing backlinks on other sites will result in a 404 error. We call these “broken links”—and they’re bad news for SEO on the site hosting them.Once again, you’ll want to find resource pages for your industry and check them for broken links. We don’t expect you to click every link in the hopes of finding one—just use a browser extension like Check My Links for Chrome. Broken links will be highlighted in red, making them easy to find at a glance.Your next move is the same as with the Moving Man Method. You’re going to send the resource page site owner an email to notify them of the broken link, making sure to tell them exactly what the broken URL is as well as where on their page the link is found. To do so, you may want to include the anchor text they’ve used, as well as the URL for the page containing the broken link.Once again, you’ll inform them in a friendly manner that your site has relevant content that covers the same topic. Offer them a link to your pages to replace the broken link, and in most cases, you’ll have earned yourself a new backlink.9. LINK RECLAMATIONSometimes, your business or brand will get mentioned online without any link to your site. This step is usually due to human error, but the good news for you is that it can be a new source of backlinks.Link reclamation is simple but very powerful. Usually, you’ll find that someone has mentioned you on their blog because they like one (or many) of your products or services. The post isn’t always a review per se—in some cases, they’ve brought your brand or business up as part of a larger narrative.All you need to do to find these mentions is use a tool like BuzzSumo, which generates a content alert every time someone writes about you. Most of the time, you’ll find that they’ve already included a link to your site, which is great news, but sometimes the link is missing.Instead of sitting there wishing they’d added a link, send them an email! Thank them for mentioning your business in their article (bonus tip: it helps to compliment the post as well), and ask if they would consider adding a link to your site. Mention that it can help their readers to find you if they want to.Don’t insist on having the link added. Put in a friendly request, repeat your thanks, and wish them well before signing off. Almost every time, you’ll get a positive response, and you’ll have earned a new backlink.Sometimes, link reclamation will get you some of the most powerful backlinks, and if you stick to our guide as to how to go about asking for the link, you’ll probably find they’ll give you a positive mention again in the future—this time with the link already added.10. HELPING HACKED SITESThanks to series like Mr. Robot and movies such as Blackhat (2015), more and more people are becoming aware of how often websites get hacked. Recently, the ransomware attacks have caused quite a legitimate panic worldwide.But thousands of sites get hacked on a daily basis in a far more subtle manner. Some hacks cause your site to start spamming emails that you can’t find in your outbox, or add pages that promote and sell prescription drugs.When a site has been hacked to add pages quietly, it’s not so great for the site owner—especially because they’re not likely to notice it themselves unless they’re constantly on the look-out for them. But if you can find hacked sites in your industry, you can turn it into an opportunity for a backlink.To find such sites, all you need to do is use a inurl:keyword + “keyword” search string. Inurl:fitness + “Viagra” is a typical example of how to find hack pages in the fitness industry.Next, you’ll let the site owner know about the page, providing a link to it so they can see quickly find the hack in the backend of their site builder or content management system and get rid of it. Sometimes, as a token of gratitude, they’ll ask if there’s any way they can repay you. This is where you mention that you’ve recently published an article that they may be interested in, and ask if they would mind adding a link from one of their high ranking pages. It’s as simple as that!11. WEBSITE FEEDBACK SITESAn excellent way to not only generate backlinks but also get input on how to improve your site’s user experience is to submit your website to one of the many, many feedback sites.These are designed to help site owners make the most out of their site’s potential regarding layout and conversion. Sure, usability evaluation techniques are an excellent way to do so as well, and we certainly recommend that you perform one at least once a year (and most especially when you’ve only recently launched, or you’re planning a redesign). But these don’t often result in backlinks, so when it comes to hitting two birds with one stone—improving your UX as well as your SEO—website feedback sites are the way to go.All you need to do is create an account on one or more of these sites, and then submit your site for review. Add a little description of how you think or would like to improve it, and that’s it!The best website feedback sites automatically add a backlink to your site. It seems like an obvious feature, because it allows contributors to find your site easily, but some of these platforms don’t inherently add the link.So if you’re looking for a great feedback site that will automatically generate a link for you, these are some of the most authoritative ranking ones.BounceApp.comSuggestionBox.comCritcue.comVWO.com12. GET INTERVIEWEDOnline interviews have become a popular trend lately, and they offer an easy way to earn some backlinks. It takes time to become considered an authority in your industry or niche, but when you do you’ll probably find you’ll be getting a lot of interview invitations. Until then, you’ll have to take the first step in finding opportunities to be interviewed.One way to go about this is to be on the lookout for websites—especially blogs, and even vlogs—that run online interviews. It doesn’t have to be focused on your particular niche, but in that case, you should narrow the list down to those that cover a range of topics. You’ll be wasting your time trying to get an interview on a site that isn’t relevant to your industry at all, and even if (by some miracle) you do land one, the backlink isn’t going to do much for your SERP ranking.Once you’ve found a relevant site, send them a friendly email and let them know that you’d like to participate in their project. Always be sure to include an overview of the type of knowledge you can offer as a contribution. It’s a little like guest posting and providing resources via HARO, but as a blend of the two—you’re providing a source of information that someone else will translate into content for their site.Another option is to signNow out to online publications that are located in your vicinity, and let them know you’ve recently started up. Ask if they’re interested in doing an article on local businesses, and offer to be one of the interviewees. Whichever method you use, you’re guaranteed to earn a few backlinks over time.13. GOOGLE+If you haven’t already created a Google+ profile account, we recommend you do so, because it’s an easy way to build a backlink to your site. All you need to do is sign up for free, add a link to your site in the Introduction section, and start interacting with other Google+ users. The more time you spend communicating and sharing, the more exposure your backlink will generate for your site, so like all SEO practices, it’s going to be an ongoing, long term process. Over time, you’ll be getting more and more referrals via your Google+ profile, making it an increasingly powerful backlink.One important thing to take note of is that you have to be logged out of Google+ to be able to see the link as a link, otherwise known as a dofollow link. It’s a little weird, but the link shows as nofollow when you’re logged in, meaning the backlink exists and is present on your profile, but doesn’t show as a link and can’t be clicked on to redirect users.This doesn’t mean you shouldn’t do add it though. There is bound to be users who won’t be logged in when they come across your profile—if it pops up on a SERP, for example—so they’ll see the link and hopefully follow it. Besides which, having that backlink available will help search engines (Google most obviously, but Bing and Yahoo will also pick it up) to index your site and improve your SERP ranking.14. SOCIAL MEDIAThis is something of an extension to the above section on Google+, which we felt deserved its spotlight. Other social media platforms can be just as important as a platform to generate backlinks for your site and to promote your content. In fact, it’s so viable and popular an option that people have made a career out of being Social Media Marketing Managers.You don’t have to hire one when starting out of course because you should be able to run your social media platforms by yourself without any difficulty, but in the long-term, you’ll probably turn to one too.How it works is this: you create a Facebook page for your business, where you can interact with users, promote your company, and share your content. You’ll also find yourself sharing content from other sites, of course, and they’ll usually return the favor. Your followers can get regular updates on new content, products, and promotions, and they’ll be able to share your posts with their friends to—creating a ripple effect of backlink opportunities.The same can be said for Twitter, which we already mentioned as a great platform for finding opportunities to guest post on other sites. Another popular trend (more for product oriented businesses, although service providers should also consider finding ways to utilize the platform) is Instagram, which will allow you to promote your brand and share advertising campaigns such as competitions with a wide range of followers.15. CREATE QUALITY CONTENTTo generate backlinks on social media, through guest posting, and pretty much most of the methods we’ve mentioned, you need to have quality content on your site. You certainly won’t be able to use the broken link method with any success if your site doesn’t provide quality content!And genuinely, having quality content makes it more likely for other sites, and especially bloggers, to make reference to your site without your having to approach them first. Others in your industry will also be following other websites, such as yours, so to earn a backlink from them you need to make sure you’re worthy of one.Needless to say, you want your content to be unique, but you also want to provide a truly unique experience (known as having unique value). Most pages online are unique, and many of them contain valuable information, but few can offer truly unique value. To do so, you need to provide content that enhances your user's’ experience in a way that no other website page does.This is imperative in generating social media shares and other backlinks. Your content is one of the few ways you can directly control your likelihood of earning backlinks.What we suggest is to, before creating a page, imagine yourself as someone visiting your website. Picture the type of page that gives you something that doesn’t only meet your demands (which is the backbone of good content), but is also different to most of what you find online already.Once you have that picture in your head, you need to sit down and create it, publish it, and then promote it.16. SPY ON YOUR COMPETITORSTo help you create good content that will earn your site backlinks, you want to spy on your competitors. Why? Because the chances are that they’ve got great content that is already ranking well and has generated a lot of backlinks.The easiest way to do so is to follow their pages on social media because that’s where they’ll be sharing their most fruitful and relevant content. Having access to this content will come into play in a big way in our next section, the Skyscraper Method, but it’s important in other ways too. Knowing what your competitors are doing on their social media platforms will give you an idea of the type of people and companies that follow them, people that you can signNow out and market to as well. Not only that, but you’ll also be able to stay in touch with the marketing methods they’re using to earn backlinks, information that you can adopt and adapt to your brand.So what you want to do is not only follow them on social media but sign up to any newsletters they send out. Google Alerts is another great way to receive notifications as to when they’re posting new content on their site.One of our favorite tools for discovering when and how your competitors are building links is Monitor Backlinks. This will give your direct insight on the techniques you can replicate to earn your backlinks in the same industry: specific sites that you should offer to do guests posts for, bloggers you can ask for reviews, and nearly every other method we’ve mentioned.17. THE SKYSCRAPER METHODThe Skyscraper Method is a super efficient means of generating content that is not only of high quality but if done correctly will also help you create uniquely valuable pages that are sure to earn you backlinks from authoritative sites. And the best part is, you won’t have to spend any money on finding resources or developing the content either!We’ve already explained the first step of this three-step process: spying on your competitors to know what content ranks well and generates the most backlinks. In our previous section, we mentioned some tools for finding out where and how these backlinks are being built so we won’t repeat ourselves here. What we are going to do is tell you what else you can do with this content.This is step two of the Skyscraper Method: using the foundation of existing content to create your own. What you don’t want to do is simply rewrite it, because then you won’t be likely to earn additional backlinks or implement step three (which we’ll be getting to in a moment). Remember that the content you’ve now curated is meant to serve as a foundation, not a framework.On this basis, you want to present the same information in a new, better way, and most importantly add to it. Find new sources, updated and vague information, find new ways of informing your readers of something that your competitors are talking about. You’re looking to expand on the existing content, so if (for example) your competitors have a high-ranking article on the top ten products, offer your readers an alternative that ranks the top fifteen.Finally, you want to promote your improved version of the content. Once again, this was partially covered in our previous section: following up on the opportunities you found that your competitors used to generate links.18. LISTSThere are three major ways that you can use to create content that will rank well and generate backlinks in terms of how you present the information, and the first of these is to create content in the form of lists.It sounds a little odd at first, but people love long lists of information. For example, there are a lot of articles online that only give you the top ten ways to build backlinks, and those include some options that are going to cost you (like offering scholarships and donating to charities). Even some of the most authoritative SEO sites stopped at less than twenty.By implementing the first two steps of the Skyscraper Method and combining it with this one, we’ve been able to provide an article that lists 25 techniques. And the reasons for doing so is simple: when you create a longer list, you’re able to be more thorough and cover more alternatives. The same is true no matter what your topic!Creating a longer list as a means of using the Skyscraper Method also means you can create longer content. Many of the top names in SEO say that longer content is perfect for backlinks because you have the space to be detailed.The list format is an excellent way to do so because it automatically structures and divides your content into easy-to-read sections, which act as stepping stones for readers to follow.19. INFOGRAPHICSInfographics are the hot new trend in SEO, and they’re a great addition to your content in general. In fact, considering how many SEO experts promote the use of infographics, it’s surprising how few people are implementing them in their online strategies!This is probably because most people think it’s going to be expensive to make one, but it doesn’t have to be. By using sites like UpWork (previously Elance-oDesk), you can easily find a graphic designer with infographics experience for seriously affordable rates. And while it’s always better to find someone who’s done infographics before, it doesn’t have to be a requirement—in our experience; the textual content is more important than the design is.Infographics present information in a visually aesthetic way that is sure to generate shares online. All you need to do is have the idea in mind, write short, concise blocks of information (there’s the list method coming into play again!), and hire a designer to bring it to life. If you prefer, you can even do it yourself with tools like Piktochart (which is why we’ve been able to include infographics on our list of free methods to build backlinks).Next, you want to share your infographic on your social media, and more importantly on sites like Visual.ly, DailyInfoGraphic.com, and AmazingInfoGraphics.com.Last (but certainly not least), you should also offer your infographic as a guest post to established bloggers in your industry. When marketed correctly, a single infographic has the potential to generate over 100 backlinks!20. AUDIOAnother largely ignored solution for building backlinks is to create audio files. While just about anything will do, it’s obviously going to be better if you’re doing audios that are relevant to your industry.One idea that’s great is to record yourself (or someone else) reading your posts out loud and embed the file on the relevant page. This is because a lot of people absorb information better when they’re able to hear it, both instead of and even while reading it too.Another reason this can increase your page views is that, for users with dyslexia, long posts can be rather daunting, especially when they involve technical terms. Many of them use text-to-speech assistive programs such as NaturalReader, but some of these software options require users to upload the text in a document.Longer text ranks higher, but you don’t want to lose potential visitors to your site because they have to copy your content into a Microsoft Word document and then upload the file to their assistive program to get through the whole article. While not providing an audio option isn’t exactly discrimination, it would be nice to start a trend in making audio versions of your content available for those that need them. As you can probably guess, this is also an excellent way to offer content with quality value.Vocaroo is a great online tool that you can use to do voice recordings via your browser, and you can download the file in a mp3 format to embed in your site. To help you build backlinks, you can also upload the files to audio sharing sites.21. .EDU RESOURCE PAGESIt’s a well-known fact in SEO that links from .edu sites are always guaranteed to boost your ranking and generate a lot of traffic for your site. A lot of site owners feel that earning a .edu link is next to impossible though, but it isn’t. All you need to do is provide something that universities will want to link to, which is a lot easier than most people think.One way of doing so is to offer a scholarship. While it’s a fantastic means of earning .edu backlinks, it does involve a fair amount of money—something you don’t necessarily have when starting out.Luckily for you, there’s another way to build .edu links free of charge. Most universities have a resource page for their students and the public to use. These pages are full of links to websites that publish content relevant for their students and faculty members to refer to. The links are categorized and usually sorted alphabetically so as not to give any one link overt preference.What you want to do is find these reference pages and find a post on your page that best matches what they’ve already listed. signNow out to the webmaster via email to introduce your site and mention your resource in a friendly manner. Suggest (but don’t insist) that your post could be a valuable addition to their references page.Be prepared to send out a lot of these emails and only have 5-10% result in a backlink, but also remember that even one .edu link can (and will) make a substantial difference in your SEO.22. BLOG AGGREGATORSBlog aggregators are sites like Alltop that host a list of quality blogs in various industries. These aggregators can be a great and easy way to build backlinks to your site free of charge, and because they’re authoritative the link alone will already bode well for your SEO. Aggregator sites have a lot of followers too, so you can be sure that the backlinks you’ve built on them will generate a fair amount of traffic too.There are four easy steps you need to follow to earn a dofollow on any of these sites:Sign up for a free account with the aggregator siteSubmit your site as a suggestion for their listYou’ll receive some HTML code that you need to add to your site so they can verify the submission and confirm that you’re the ownerA representative from the blog aggregator site will take a look at the site within a few days to verify the submission. Once your request has been approved, a dofollow link to your website will be added to their pages.Other blog aggregators include BizSugar.com, BlogEngage.com, BloKube.com, and InBound.org. Go ahead and find as many as you can with a quick Google search. The same process as above rings true for most of them—it’s as easy as —so try to add your site to as many of them as possible. These are truly powerful backlinks that will help boost your SEO rating signNowly.23. SCOOP ITScoop It offers a simplistic solution to those looking to curate content as well as earn quality backlinks. It’s a common tool among industry leaders, and especially those looking to develop their brand on professional networks. You can think of it as another blog aggregator, except it’s so much more than just that.On Scoop It, users can build their online magazines of content from across the web that they enjoy, for the purpose of sharing the curated content with other industry members and clientele. The software’s quick search methods ensure that users find quality content from reliable sites, so adding your name to the mix will do wonders for your site’s SEO.Think of it as a second platform to publish and promote your content, and match it with other relevant content available on the web—creating backlinks for other sites that may be persuaded to do the same for you. You’ll also have the freedom of sharing your Scoop It content on your social media platforms.There are a couple of packages to choose from, and the free option is quite helpful for starting out. You may want to explore some of their paid plans in the long run, but when you’re just beginning to stretch your legs online making use of the free version is an excellent way to start building backlinks to and from your site.24. "BEST OF" BLOG POSTSThere are a lot of blogs and websites that publish “best of” lists where they provide readers with a comprehensive breakdown of the best blogs and sites in a particular niche or industry.While you may not be able to convincingly do one of your own, which would create backlinks to other sites that you may be able to persuade to do reciprocate, you can use the existing links to find blogs and platforms to pitch your own. This one of the easiest ways to do so, because you have a list of the best possible sites in your industry already laid out for you—no further research needed.Of course, you shouldn’t limit yourself to only one site’s lists. A good rule of thumb is to find at least three that you can compare, and compile a list of your own. This list is what you’ll be using to develop your email marketing strategy.You should also be on the lookout for relevant local sites that you aren’t likely to necessarily find on “best of” lists. The reason for this is simple: voice search is changing the way search engines interact with users, and take location into account when generating SERPs. Having links to other, more established local businesses can help you to rank well not only for text-based search queries but the increasingly popular conversational voice search query too.So how do you turn this list into new backlinks with an email marketing strategy?25. MAKE A PITCHUsing the methods we’ve outlined already, you’ve managed to earn yourself a host of new backlinks, but in some cases, you have to make a good pitch.The most direct way to build new backlinks is to simply ask. But it’s not likely to work (though when it does, it’s probably the easiest link you’ll ever earn!)So what constitutes a good pitch?Firstly, you need to remember that you’ve got to give a little to get a little. Backlinks are usually given out when you’re able to offer the other site something that they can use to their advantage too. So what do you have to offer other than a replacement for old and broken links, and a heads-up on hacks?They want the same thing you want, so make sure you’ve created quality content that is relevant to their site and is created using the guidelines we’ve detailed above.So let them know that you’ve already created a backlink to their site—and give them a link to the post so they can see for themselves.Secondly, you need to remember that most people get almost a hundred emails a day, so keep it short—but not leave out relevant information.Your subject line needs to be attractive. About 69% of emails marked as spam is because of a bad subject line. The body of your pitch needs to be detailed, but concise—and most importantly, friendly rather than pushy.If you’re struggling, take a look at some templates or use Pitchbox.Your pitch is ultimately going to be the breaking point in deciding whether or not a site awards you with a backlink. It’s the most basic, but also the most important, means of generating these links. Remember that, and remember our guide, and you’ll soon see your SEO ranking increase astronomically.
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How does understanding the elements of music impact the analysis of a narrative poem?
Scaringly difficult subject to write about, and surely, just as ambivalent. I possess no expertise on poetry nor on music, only what a curious & interested mind gathers over these past few years. Hastily point out mistakes or any others short-comings & fallacies.I will be quick to mention Milton, perhaps a little of Eliot, and lastly, Ezra Pound. The effect & connection between music and poetry has definitively varied throughout history. Sung epos & folklore songs, Provençal & Troubadour poetry,... roughly speaking, and this is my observation, the first wedge between the two has been made when poetry became much more erudite, soaked in words-meaning, and forgot the musical rhythms little behind, not that I value one over another.-- Anyway, 19. & 20. century welcomed the revival of the two, and again established connections. French symbolism, Modernism & new musical techniques ( revolution of style both in literature & music, the avant-garde was united across all fields ). Of course, one of the issues is how much of modern poetry can be marked as "narrative" in the obvious sense. The elements of music is such a vague term indeed…To start off with a quotation from Poe`s The Poetic Principle:Contenting myself with the certainty that Music, in its various modes of metre, rhythm and rhyme, is of so vast a moment in Poetry as never to be wisely rejected - is so vitally important an adjunct, that he is simply silly who declines its assistance, I will not now pause to maintain its absolute essentiality. It is in Music perhaps that the soul most nearly attains the great end for which, when inspired by the Poetic Sentiment, it struggles - the creation of supernal Beauty. It may be, indeed, that here this sublime end is, now and then, attained in fact. We are often made to feel, with a shivering delight, that from an earthly harp are stricken notes which cannot have been unfamiliar to the angels. And thus there can be little doubt that in the union of Poetry with Music in its popular sense, we shall find the widest field for the Poetic development. The old Bards and Minnesingers had advantages which we do not possess - and Thomas Moore, singing his own songs, was, in the most legitimate manner, perfecting them as poems.&A poem, in my opinion, is opposed to a work of science by having, for its immediate object, pleasure, not truth; to romance, by having, for its object, an indefinite instead of a definite pleasure, being a poem only so far as this object is attained; romance presenting perceptible images with definite, poetry with definite sensations, to which end music is an essential, since the comprehension of sweet sound is our most indefinite conception. Music, when combined with a pleasurable idea, is poetry; music, without the idea, is simply music; the idea, without the music, is prose, from its very definitiveness.And to finish, a section from a letter to James R. Lowell:I am profoundly excited by music and by some poems - those of Tennyson especially - whom with Keats, Shelley, Coleridge (occasionally) and a few others of like thought and expression, I regard as the sole poets. Music is the perfection of the soul or idea of Poetry. The vagueness of exultation aroused by a sweet air which should be strictly indefinite and never too strongly suggestive is precisely what we should aim at in poetry. Affectation which is thus no blemishMustek and Poetry have ever been acknowledg'd Sisters. As Poetry is the harmony of Words, so Mustek is that of Notes... Sure they are most excellent when they are join 'd. Blest pair of Sirens, pledges of Heav'ns joy, Sphere-born harmonious Sisters, Voice, and Vers, Wed your divine sounds, and mixt power employ Dead things with inbreath'd sense able to pierceMilton could have very well be a musician, -his father was-, and his music appeared in print from time to time, one notable contribution was Fair Orian in collection of madrigals in Honour of queen Elizabeth, The Triumphs of Oriana.He was a close friend with a composer Henry Lawes, and the two collaborated on The Masque of Comus, 1634.There is also a distinction to be made between Greek & Roman musica practica, which was performed & sung, and the Pythagorean musica speculativa, theoretical & mathematical understanding, — changed to Christianised harmonia mundi during the Renaissance revival ). Harmonica mundi can definitely be encountered in Milton`s early poetry, At solemn music, Ad Patrem, & passages from 'Arcades', Comus, and 'On the Morning of Christ's Nativity'.From At solemn music:“ … disproportioned sinJarred against nature's chime, and with harsh dinBroke the fair music that all creatures madeTo their great Lord.”See how disproportioned resonates with Pythagorean proportions, and it became disproportioned with the Original Sin and the fall from Eden. The reconciliation between the Classical/Pagan & Christian aesthetics and tradition was one of the foremost issues of early Milton. A passage from On the Morning of Christ's Nativity';The lonely mountains o’er, And the resounding shore, A voice of weeping heard and loud lament; Edgèd with poplar pale, From haunted spring, and dale The parting Genius is with sighing sent; With flower-inwoven tresses torn The Nymphs in twilight shade of tangled thickets mourn.From Paradise Lost:Celestial voices to the midnight air [...]With heavenly touch of instrumental soundsIn full harmonic number joined, their songsDivide the night, and lift our thoughts to heaven.& in Hell:Their song was partial, but the harmony(What could it less when spirits immortal sing?)Suspended hell, and took with ravishment The thronging audience.Partial music of fallen Angels & Broken music of man. And Book V:Mystical dance, which yonder starry sphereOf planets and of fixed in all her wheelsResembles nearest, mazes intricate,Eccentric, intervolved, yet regularThen most, when most irregular they seem;And in their motions harmony divineSo smooths her charming tones, that God's own earListens delighted.A quick stop with T.S. Eliot and modernism before Pound.Modernism was a turbulent period, literature was chasing music, music was chasing language, and both were born out of impulse to restore expressivity & eloquence that the formality has lost. An important shift has happened, there is no absolute, right or left, right is not the opposite of left, ocean does not kill the fire.Poe & French symbolism played a pivotal role, and I am not confident nor do I know enough to speak about French climate and the effects of Poe in the second half of the 19. century here.Just as literature changed, so did music. Even the so called more traditional composers, like Ravel, are less formulaic and more abrupt, not to mention the likes of Stravinsky. What is very intriguing to me is how well does modern art produce tensions despite the loss of totality & coherence, and how idiosyncratic arbitration took over without losing the profound and human effect of tensity. In this sense, music was not longer a music in musical forms, but rather that of consciousness and its fragmentation.The seeming homelessness of arts in the period is a precondition of the changes that occurred, and this is what T. Hardy called the ache of modernism. There are no happy ends, formulaic tragedies ethically victorious, nor obvious redemption ( debatable, Last part of The Waste Land is an example ). The widening canyon of separation & inability of pristine connectivity is a precondition of the age, and in itself, its product - Postmodernism, a headless human still digging in a graveyard of modernity, seeking hopelessly for a regenerative bone & praying not to find it - he would have to leave. This is why modernism has no green heritage, only skeletons. In Joyce`s terms, Scrupulous meanness. Even the Hegelian aesthetics “in the suspension of equilibrium lies the tendency to return to a condition of equilibrium”, even musical form through dissonance to consonance, is depleted. If one here remembers the quotes from Poe and his posture of indefinitiveness, how it went from his to symbolism and from there to modernism, acclaiming the suggestive aspect.One of the drives of modernism was to thrust poetry back from the street, or jungle, to the sublime, the rightful place, to perform the duties it deserves. The restoration called for a path through prickly subjects, even ironic and laughable, like Prufrock`s underwhelming question, but it manages to pass exactly due to that vagueness, and we sense it as our own.Perhaps all this has been rather imprecise, let me speak about Eliot.So, while poetry attempts to convey something beyond what can be conveyed in prose rhythms, it remains, all the same, one person talking to another; and this is just as true if you sing it, for singing is another way of talking. The immediacy of poetry to conversation is not a matter on which we can lay down exact laws. Every revolution in poetry is apt to be, and sometimes to announce itself to be a return to common speech.... The music of poetry, then, must be a music latent in the common speech of its time.The Use of Poetry and The Use of Criticism: “Poetry begins, I dare say, with a savage beating a drum in a jungle, and it retains that essential of percussion and rhythm” - like music.Fairly, music of poetry may differ from music of music, an awkward saying that while musical elements are important for analysis, but the musical elements in poetry categorically & theoretically & applicably differ from those that we apply to music per se.'From Poe to Valery´, essay:Poetry, of different kinds, may be said to range from that in which the attention of the reader is directed primarily to the sound, to that in which it is directed primarily to the sense. With the former kind, the sense may be apprehended almost unconsciously; with the latter kind - at these two extremes - it is the sound, of the operation of which upon us we are unconscious. But, with either type, sound and sense must cooperate; in even the most purely incantatory poem, the dictionary meaning of the words cannot be disregarded with impunity.Precisely, from The music of Poetry;[m]y purpose here is to insist that a 'musical poem' is a poem which has a musical pattern of sound and a musical pattern of the secondary meanings of the words that compose it, and that these two patterns are indissoluble and one.Simply a level beside the denotation of words. In`The Music of Poetry´ another inspect of this climate is presented:The music of a word is, so to speak, at a point of intersection: it arises from its relation first to the words immediately preceding and following it, and indefinitely to the rest of its context; and from another relation, that of its immediate meaning in that context to all the other meanings which it has had in other contexts, to its greater or less wealth of association.Which can be directly linked to his writings On Dante:In English poetry words have a kind of opacity which is part of their beauty. I do not mean that the beauty of English poetry is what is called mere 'verbal beauty'. It is rather that words have associations, and the groups of words in association have associations, which is a kind of local self-consciousness, because they are the growth of a particular civilization.As many words, music ferries such a rich history of meanings, definitions, and relations that is difficult to analyse the impact. Music in one of the Archetypes, and they are hard to contain. Music is a structure separate of understanding, insofar as it escapes the restraints of conventional meanings. The Music of Poetry is, if one takes a leap of imagination, an objective correlative, if I dare expand the term. If I use a line from D. Davie; "It is language which happens through the speaker and not the speaker who expresses himself through language.”-— Can this also be said about music, when it comes to early Eliot?In an 'Aspects of Rhythm and Rhyme in Eliot's Early Poems', J. Chalker, in sum, `The Use “the steadiness and predictability of musical rhythm” is to produce psychological reassurance in the midst of emotional disturbance.´—Such irony, after reading Prufrock, if I thinks solemnly of rhythm, I would say it conveys anything but the reassurance and predictability, yes, the irony that is serves as a distraction from emotional disturbances, and in this fact lays reassurance.Quite enough of Eliot…Ezra Pound!''The idea that music and poetry can be separated,'' he wrote, ''is an idea current in ages of degradation and decadence when both arts are in the hands of lazy imbeciles.''Opera Le Testament De Villon:He started at least two unfinished operas, Cavalcanti and COLLIS O HELICONII.( Two short recordings of the latter can be found here )Rhythm & Music, “the hardest quality of a man's style to counterfeit”.In his three essays about Music in Transatlantic Review, he strongly focuses & advocates time and time-intervals, arguing:“A sound of any pitch, or any combination of such sounds, may be followed by a sound, or any combination of sounds, providing the time interval between them is properly gauged; and this is true for any series of sounds, chords, or arpeggios”Emphasization of space and rhythm was, by space - `space in between concise images - in juxtaposition´ - one of prime concerns of Imagisme. Reader`s interaction is needed to form a connection between them. ( A short answer about In A Station of the Metro ) Another short poem, Alba:As cool as the pale wet leaves of lily-of-the-valleyShe lay beside me in the dawn.Pound˙s poetry, rhythm & music was always more about reaction than explanation, which, I think, anyone who has read him can agree, and that might very well be the only thing on which we can agree. Therefore Poetry & Music are two in one to achieving this reaction.I will briefly present his own attempt to compose a work based on his own poem, Sestina Altaforte (1909 )Loquitur: En Bertrans de Born.Dante Alighieri put this man in hell for that he was a stirrer-up of strife.Eccovi!Judge ye!Have I dug him up again?The scene in at his castle, Altaforte. "Papiols" is his jongleur."The Leopard," the device of Richard (Cúur de Lion).IDamn it all! all this our South stinks peace.You whoreson dog, Papiols, come! Let's to music!I have no life save when the swords clash.But ah! when I see the standards gold, vair, purple, opposingAnd the broad fields beneath them turn crimson,Then howl I my heart nigh mad with rejoicing.IIIn hot summer have I great rejoicingWhen the tempests kill the earth's foul peace,And the lightnings from black heav'n flash crimson,And the fierce thunders roar me their musicAnd the winds shriek through the clouds mad, opposing,And through all the riven skies God's swords clash.IIIHell grant soon we hear again the swords clash!And the shrill neighs of destriers in battle rejoicing,Spiked breast to spiked breast opposing!Better one hour's stour than a year's peaceWith fat boards, bawds, wine and frail music!Bah! there's no wine like the blood's crimson!IVAnd I love to see the sun rise blood-crimson.And I watch his spears through the dark clashAnd it fills all my heart with rejoicingAnd pries wide my mouth with fast musicWhen I see him so scorn and defy peace,His lone might 'gainst all darkness opposing.VThe man who fears war and squats opposingMy words for stour, hath no blood of crimsonBut is fit only to rot in womanish peaceFar from where worth's won and the swords clashFor the death of such sluts I go rejoicing;Yea, I fill all the air with my music.VIPapiols, Papiols, to the music!There's no sound like to swords swords opposing,No cry like the battle's rejoicingWhen our elbows and swords drip the crimsonAnd our charges 'gainst "The Leopard's" rush clash.May God damn for ever all who cry "Peace!"VIIAnd let the music of the swords make them crimson!Hell grant soon we hear again the swords clash!Hell blot black for always the thought "Peace!"As a remainder, poem’s speaker is the Gascon nobleman and war-loving troubadour Bertran de Born, who lived in the second half of the twelfth century. There is no way Pound would have wrote the poem in 1914, even 1913, with its pro-war orientation, but in the end, it is a traditional subject of epic.If one isolates the ending words of each stanza:peace – music – clash – opposing – crimson – rejoicing [Stanza I]rejoicing – peace – crimson – music – opposing – clash [Stanza II]clash – rejoicing – opposing – peace – music – crimson [Stanza III]crimson – clash – rejoicing – music – peace – opposing [Stanza IV]opposing – crimson – peace – clash – rejoicing – music [Stanza V]music – opposing – rejoicing – crimson – clash – Peace [Stanza VI]crimson – clash – Peace [Envoi]Not to get into a detailed analysis of this one poem and its technical mastery of Anglo-Saxon metre & alliteration, more famous in his translation The Seafarer.“The phrases are short (two to six small, quick bars), often similar but generally asymmetric, and impetuous with anapest driven leaps, creating an almost flickering quality. The sestina form, however, is used for purely structural function. There is no attempt at word painting or at a sonic/cognitive equivalent. The music matches the original poem, one note or chord per syllable, through the third line of the second sestet. From this point musical irregularities gradually encroach upon the monosyllabic relationship with the text. His formal method was to assign one or two extremely brief music segments (each segment consisting of a different chord, or two or three chords with or without a unison note) as a “sonic signifier” to identify each line of Altaforte’s six end words. When the end word appeared in its new position in the following sestet its sonic signifier would appear as a recognizable determinant. . . .“Remembering category #4 concerning “Criticism via music” in Pound’s essay “Date Line,” we can reflect upon the interpretive insights given us when Pound interrelates music and verse.2 As can be seen above, the temptation to read “Damn it all!” as a colloquial emphatic anapest is dissuaded by Pound’s more pungent cretic ( – ˘– ), giving equal emphasis to “Damn-all.” At the end of the line a spondee (two quarter notes) gives accentuation to “stinks peace,” correcting a tendency to slight “stinks” as a moderately unstressed syllable if giving “South stinks peace” the quite natural reading of a cretic. Similarly, in line six of the same stanza, “heart nigh mad” might be rendered a cretic, yet Pound’s musical setting as three stressed syllables heightens the emotional pitch of the poem by raising the tension on “nigh.” . . .“Under the influence of Antheil’s constantly changing time signatures and note durations[applied to the opera Le Testament] the solo violin sestina utilizes a constant shifting of the number of microbeats per bar from 1/4 to 21/32, with a frequency of triple and quintuple meters presaging the metric simplification of his music over the next two years. Yet Pound’s notation is not secure enough to avoid frequent miscalculations of the note lengths versus the time signatures.“A chordal piece with almost no single notes, frequently using triple- and quadruple-stops with one to three open strings, it repeatedly necessitates the use of “broken chords” or arpeggiation. The result is often a scratchy, disjointed, leaping quality as the player prepares the fingers to approach each new multiple stop. Yet the “breaking” of the chord also favors a clarification of the harmony by lessening the biting dissonance to produce a more consonant sound, often focusing on open fifths or, in arpeggiation, the sweetened effect of an incomplete major seventh chord. Although aesthetically clarified by a few interpretive markings (bowings, accents, staccati, glissandi, sordino, string specification), technically the piece is filled with impracticalities: jagged, wide leaps; constant multiple stops; and some extremely difficult quadruple- stops, which at best render the work barely playable, if not unplayable. (These challenging famous last words often eventually offer an extremely good performance!)” . . . ( Sestina Altaforte” Ezra Pound sets his poem to music )Aforementioned unfinished COLLIS O HELICONII;HYMN TO APHRODITEAphrodite subtle of soul and deathless, Daughter of God, weaver of wiles, I pray thee Neither with care, dread Mistress, nor with anguish Slay thou my spirit. But in pity hasten, come now if ever! From afar, of old, when my voice implored thee, Thou hast deigned to listen leaving the golden House of thy father With thy chariot yoked, and with doves that drew thee Fair and fleet around the dark earth from heaven, Dipping vibrant wings down the azure distance Through the mid ether: Very swift they came; and thou gracious Vision Leaned with face that smiled in immortal beauty, Leaned to me and asked, “What misfortune threatened?” Why I had called thee? “What my frenzied heart craved in utter yearning, Whom its wild desire would persuade to passion? What disdainful charms madly worshipped, slight thee? Who wrongs thee, Sappho? “She that fain would fly, she shall quickly follow She that now rejects, yet with gifts shall woo thee, She that heeds thee not, soon shall love to madness, Love thee, the loth one.”( John Myers O’Hara translation 1910, which Pound recommended )Scenario/librettoPound described his third opera as half-finished (GK 368). A libretto, two arias, and three instrumental works are the sum of materials we have to inform the staging of the opera Collis O Heliconii. Pound’s libretto refers only to the Catullus poem (see my comments and transcription of Pound’s libretto, COLLIS xvi–xix; 102–111). The joining of the opera’s central aria in Latin—Catullus’ carmen 61—and a secondary aria in Greek—Sappho’s “Poikilothron”—continued the pairing of languages heard in the second opera Cavalcanti (Italian and Provençal). The composer’s principal motivation for relating the Latin and Greek poems in an opera was to anchor modern English lyrics in the Greek rhythms while demonstrating how a grasp of Latin will refine a poet’s style.The four key actions of Sappho’s Poem 1 are Sappho’s invocation to the goddess Aphrodite; the goddess’s descent from heaven; Aphrodite’s direct address to Sappho regarding her dominance over human will; and Sappho’s invitation to Aphrodite to take action side by side to reverse an unrequited love.The relationship of the Sappho invocation to the Catullan poem, which is widely accepted as an epithalamium, is not an obvious one. But even if we overlook recent scholarship that depicts carmen 61 as a lampoon of an epithalamium, we can find structural resemblances between the two poems. Sappho’s poem provides an authorial match to Catullus’ carmen 61: each poet inserts her- or himself into the poem; each writes in a way that distances the poet as author from the passions written about; and each poem includes a theme of same-sex preference. It was Henry Wharton who first introduced the English reader to Sappho’s love for a female and possibly Theodor Bergk who earlier had done the same for the German reader (Williamson 51–52).2For contrast and drama in his opera, Pound would develop the literary relationship between Sappho and Catullus. He had named them in his 1929 essay “How to Read” as among the essential canon of authors "who actually invented something" (LE 27). In 1934, Pound praised Catullus for his treatment of sapphics: “. . . the only man who has ever mastered the lady’s metre” (ABCR 47). He published the essay “Date Line” the same year, claiming that the musical setting of a poet’s words was a fourth form of criticism (LE 74). Had Pound’s attempts at setting the two poets’ words to music led him to these declarations?Pound’s preference was for us to hear the two poets’ words in the original language, their rhythms and styles brought directly to our ear through the music—the successful formula he had used to dramatize the Cavalcanti–Sordello literary relationship in his second opera. Pound’s pairing of Sappho’s 1 with Catullus 61 removes Sappho from the sphere of influence of Ovid, where most readers became acquainted with her through reading the Heroides. The opera was to place her Latin legacy clearly on the side of Catullus. For more on this, see COLLIS, chapter V, “Sappho.”SapphicsEzra Pound's holograph score of his setting of Sappho Poem 1 from his 3rd opera,Collis O Heliconii.Shown: Introduction to End of Stanza 1 with sapphic stanza and transcription of Pound's lyrics added in red.Beinecke Rare Book and Manuscript Library (YCAL 53, Box 46/1015)Reprinted by permission, Second Evening Art. All rights reserved.Pound’s musical events in the Poikilothron convey a feeling for the meter through quantity and syllabic durations. Only the first stanza (see music score above) corresponds wholly to the sapphic stanza as defined by the Alexandrian grammarian Hephaestion (2nd century A.D.). Here is the sapphic meter as it has come down to us from Hephaestion’s manual of Greek meters, the Enchiridion:– ˘ – x – ˘˘ – ˘ – x– ˘ – x – ˘˘ – ˘ – x– ˘ – x – ˘˘ – ˘ – x– ˘˘ – –[The x represents an “anceps” in which the syllable can be short or long.]O’Hara, too, conformed only his first stanza to the Hephaestion sapphic. He maintained the feeling of sapphics through quantity (eleven syllables in the first three lines, five in the fourth), through a liberal use of the choriambic foot – ˘˘ – (though not always in the Hephaestion choriambic position), and through sounds in English that evoke the Greek sounds. Pound follows suit in the music (see the entry on Stanza 4 below).Musical InfluencesWhen Pound approached the setting of a Greek poem accompanied by lyre, he did not attempt to imitate ancient Greek music. Though he had acquired vol. 1 of the Lavignac Encyclopedia of Music which features Maurice Emmanuel’s entry on Greek music, he relied on this text more for its relevance to poetic meter than for compositional ideas.He lent Mary Barnard his own volume, recommending it as the preferred source for understanding how to write sapphics in American English using Emmanuel’s system of musical forms and strategies (Barnard, 56, 58).For his melodies, Pound looked beyond Greece, east to Indonesia. Pound turned his attention to the Javanese scale as had Claude Debussy, but distanced himself from the composer, lamenting that Debussy had turned to composing ‘mush.’3 Debussy had been influenced by performances of the Javanese gamelan at the Paris Exposition of 1889. Access to information about and recordings of world music were random and haphazard, the nascent field of ethnomusicology being represented by only a few key individuals until well into the 1950s.The specific source for Pound’s approach to the Sappho aria, however, is traceable to the Austrian Erich von Hornbostel, one of the earliest musicologists to make field recordings of the music of Indonesia. Hornbostel reported his findings in “Phonographierte Melodien aus Madagaskar und Indonesien” in 1909. Pound most probably learned of him from his friend, the American concert pianist Katherine Heyman, who mentioned Hornbostel in her 1921 bookThe Relation of Ultramodern to Archaic Music (58).4 On July 7, 1924, Pound programmed an arrangement of a Hornbostel Javanese transcription for solo violin, played by Olga Rudge in Paris.5Pound’s Musical Strategy: Modality and TonalityTo the ear accustomed to a diatonic scale, the intervals of Pound’s unusual scale join with the rhythms “to cut a shape in time” (Barnard, 55). Pound’s single accidental of C# in his scale for the Poikilothron aria resembles the transcriptions of Sumatran music compiled by von Hornbostel at the turn of the century.Pound employs six tones —A, C#, D, E, F, (G)—and avoids B altogether. The use of five tones only in stanzas one through four creates a sense of modal music, i.e., a type of scale that is sui generis, where each tone has equal weight, rather than tonal, which is a hierarchical system of music with a central pitch to which the other pitches relate. In modal music the notes do not function as harmony. Only in the fifth stanza does Pound introduce the G to create the sense of a musical key with the stable relationships of the fourth between D and G, and the already present fifth between D and A. The six-tone scale, with certain features acting like a diatonic scale which has seven tones, implies the key of D minor. B is simply avoided and the C# serves as a raised “seventh” step which wants to resolve to D.When the tritone sounds between G and C#, the composer moves from modal to tonal music. In Stanza six, he resumes modality.The contours of Pound’s melodies arise from the qualities of spoken word in the poem—supplication, solicitation, question, demand, and judgment—, the intervallic movement expanding and subsiding with the emotion. The composer brings forward the contours of Sappho’s words through timbre, dissonance, tritone, and accent. Guided by the belief that he can recover the form apart from the formulaic metrics passed down by tradition, he does not attempt to recover ancient Greek melody, but presents new composition as his fifth form of criticism (LE 74–75).Stanza 4: Inner form in Sappho’s Poikilothron:In stanza four, Sappho’s rhetorical devices lead to a highly structured colloquy between the poetess and goddess, even as the language remains colloquial. The composer strives to make this duality salient—structural formality/linguistic familiarity—not only to transmit Sappho to a modern audience but to promote his own interest in Sappho as a mortal poet conversant with the gods.At stanza four we find rhyming patterns in the syllables: otti deute / kotti deute. Here, Pound foregrounds Sappho’s word play by striking the repeating hard surfaces of her Greek consonants—t, d, p, k—against his neo-Sumatran scale, the strangeness of the scale serving to inflect each sound. Sappho’s voice rings out, resonant and striking in her Poundian afterlife, with none of the Ovidian invention and melodrama qualifying her poetic achievement.Stanza 4, lines 3–4, bars 45–49“You asked, what pray tell have I suffered and why pray tell do I call?”Following three breathy vowels on the same pitch, “e-re ot-”, the consonant load of the syllables, “ti”–“dau”–“te”–“pe”–“pon”–“tha,” meets each of the descending pitches with percussive impact. The final syllable pepontha (“have I suffered”) hits the bottom of the singer’s tessitura on A,an octave and a minor sixth below “e-re ot-.” The word kotti (“and what”) rebounds one octave higher on the A, then C# and A again,before a second leap downward to the low A. There follows a third and lesser rebound and descent. The word melodykalemmi (“do I call”), broken by a sixteenth rest, gives the illusion that all is settling down. Pound delivers the last syllable “-mi” on the less-than-resolute e to end the stanza (supported by an A in the violin).Stanza 5: the tritone in Pound’s aria Poikilothron:The Music Column of Make It New 2.1 discussed Pound’s use of the interval of the tritone to insert a critical marker indicating genius within the music. In the Sappho aria, we might expect that when Sappho refers to herself in the poem’s fifth stanza (“kotti moi”), Pound will employ the tritone, and he does not disappoint. He makes the tonality of the tritone salient by preceding it with modality in the preceding four stanzas and in the subsequent sixth stanza.What Pound said:“The more Greek a man knows the better his English cadence is likely to be, and the greater richness, variety, height, precision, colour of his criteria; the greater the variety of his ideas and memories of what verbal melody can be and should be; and the finer his perception of all verbal sounds whatsoever.”(Ezra Pound. “Dust upon Hellas.” Time and Tide XV.45 [November 10, 1934]: 1429–1430).“Greek seems to me a storehouse of wonderful rhythms, possibly impracticable rhythms. If you don’t read it and if you can’t read Latin translations from it, it can’t be helped. Most English translations are hopeless. The best are in prose.”(Ezra Pound. Letter to Iris Barry. July 1916. L 87).( SAPPHO IN POUND’S THIRD OPERA, COLLIS O HELICONII )I would still say that Pound`s musical interest & experimentation ( Classical Greek and Latin, 11th- and 12th-century troubadours like Arnaut Daniel and Gaucelm Faidi, French trouvères like Guillaume le Vinier, and their 14th- and 15th-century heirs like Dante, Cavalcanti and Villon ) were an extended branch, or outgrowth, of his colossal studies in versification. The sound, not semantics!Arthur Daniel, if Pound were asked to give a name of his idea forerunner of whom he said: “when the Provençal [language] was growing weary, and it was to be seen if it could last, and [he] tried to make almost a new language, or at least to enlarge the Langue d’Oc, and make new things possible” —Make it new! The famous motto.OBLIGATORY listening, a different reading of Sestina Altaforte. If you do not hear the music, Sir, God help thee…So, how does understanding of music impact poetry? — Some say intrinsic, and some have not given it a thought or two. Same goes with criticism & analysis.
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There are dozens of subjects I follow on Quora and by far, the most questions I see posted are concerning narcissists. Are they
Reba Schneider’s advice about muting topics is excellent, but I’d also suggest that maybe the reason you’re seeing so many questions on it is that at some point you answered or upvoted some answers (or maybe even just clicked on a question to read some answers!) about the topic.I did that about a year ago with a few questions about atheism or some such. I didn’t think much about it but then saw more questions about it and probably answered one or two them as well.Suddenly it seemed as though Quora had been INUNDATED with mad thronging foaming crowds of Theists and Atheists at each other’s throats, every day, all the way, come what may! Everyone else seemed to left the site! A good 60 to 70% of my feed questions were religious stuff!Somehow it clicked for me that I’d caused it weeks earlier and from that point on I religiously avoided any questions about religion! It took a week or two of seeking out other Q’s and A’s about other topics… but suddenly all the religious stuff disappeared from my feed!My guess is that today a lot of people are experiencing the same thing with regard to Trump and think that Quorans are all obsessed with him. In reality, there might be a lot of Trump stuff out there, but it’s likely more like one out of every 25 or 50 questions than the one out of three that I’m sure some folks are seeing.MJM, Be careful what you click!
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