PROSODY
and the preciousness of life
a site dedicated to the elucidation and practice of prosody
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Over the last 25 years, I've taught various aspects of prosody in contexts as diverse as the Harvard Divinity School, Duke University, SFSU Poetry Center, Laboratorio Alameda in Mexico City, BRIC Arts Media in Brooklyn, HIAP Gallery Agusta in Helsinki, Deep Listening Institute at Rensselaer Polytechnic Institute, Bowery Poetry Club in Manhattan, New School for Social Research, the Robert Wilson Watermill Center and Hofstra University.
In 2006, I co-founded, with choreographer Daria Faïn, an integrative artscience called The Prosody Body, along with its performative body called The Phoneme Choir (subsequently morphed into The Commons Choir).
In spring of 2018, I taught a 3-month prosody course at the Poetry Project at St. Mark's Church in NYC. The course consisted of 11 sessions and was titled Prosody, Privatization, Performance and Peace. This course established the basis for an ongoing, ever-evolving, expansive prosody curriculum, as well as a committed group of participants and practitioners. The course is currently presented under the title Prosody and the Preciousness of Life, continuing prosody's total implication in the composition of our lives.
A prosody program is also currently being proposed as an interactive, trans-disciplinary field in various educational settings. The program could also be considered a very extensive creative writing course, covering, for example, poetry's basic elements of composition, comparative classical and contemporary poetics, evolutionary linguistics, biosemiotics, psychoacoustics, phonosemantics, mantra, and cosmogony.
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general definition of prosody:
Prosody is limitless expression beyond, and encoded within, the lexical limits of language. It's extralinguistic, as well as intrinsic to our impulse to speak. Prosody is, of course, poetry's basic elements of composition: tempo, tension, intensity, timbre, rising and falling intonation, rhyme, meter (and all its metaplasms), duration, cadence, caesura, pause, pitch, sound and syntactic recurrence, and assorted stresses (comprised of loudness, duration and pitch variables). A whisper is purely prosodic, as is a word withheld. Prosody is the overall measure, the music, the manner of making meaning. Pragmatically, emotion, mood, attitude, implied meaning, and the tonal differences between questioning, explaining, exclaiming and commanding, are also prosodic phenomena. Socially, it is by means of prosodic correlates (timbre, intensity, pitch, loudness, formants, frequency contours, interactional response time and speech rate) that we form snap inferences with regard to each other's qualities, character and condition. While conscious use of prosodic elements sets poetry apart from speech, these same elements also constitute speech. And in turn, speech can be set to poetry. This song/speech contrariety is one of the oldest stories on earth... Non-acoustic (retinal/written) transcriptive, typographic devices such as font-choice, boldface, striking-through, overprinting, handwriting, word-spacing, enjambment, line page-placement and use of white space can also be read prosodically, as an extra-lexical score or performance notation. The poem’s stored performance on the page or screen (or in the cloud) might be its only presence, written for no ulterior stage, as pure page or screen prosody untransduced from vocalization, awaiting the metabolic speed of diffusion on paper or speed of light electronic transmission. (And in our soundless reading of writing, prosody is present, perhaps even more boundlessly, in mind.) As a science, prosody can be defined as suprasegmental phonology, focused on the primary correlates of prosody (intensity, pitch, duration, rhythm) of course not necessarily related to poetry. On the other hand, the science of versification (orally transmitted, prehistorically, then written as treatises on pronunciation, articulatory phonetics, phonotactics and appropriate metrics as applied to poetry, tracing back to the Vedic Pratishākhyas, the Dravidian Tolkāppiyam, Aristoxenus's Ἁρμονικὰ στοιχεῖα, Hephaestion's Enchiridion, to name a few) is as old as versification itself. (I think it's fair to say that linguistics itself was conceived for the purposes of poetry.) Defined more broadly, the science of prosody includes a rich array of current linguistic research in areas such as biolinguistics, psychoacoustics, cognitive philology, sociolinguistics, phoniatrics, semiochemical ecology, evolutionary linguistics, phonosemantics, kinesics, biosemiotics, affective prosody, comparative poetics, graphemics, corpus linguistics and choreoprosodia. Yet, these sciences are rarely, if ever, referred to within the teaching and practice of poetry, even though tending to the opaque, material qualities of words is basic to verse. Reciprocally, poets' contribution to linguistic science is, I believe, negligible-to-nonexistent. Of course, literary studies and cultural literary theory and criticism (often written by poets themselves) necessarily focus on the language-art object. Still, a vital interchange, a profoundly integrative, non-polar prosody artscience, has not been part of the curriculum. "I am myself hopeful that linguistic studies will bring to contemporary criticism a vocabulary and method more sensitive to the basic activity of poetry and less dependent upon assumed senses of literary style." Robert Creeley Prosody and gesture are co-occurrences in the same semiotic system, processed in the same areas (Broca's and Wernicke's) of the brain. Motor gestures conduct/accompany/pantomime prosodic expression. Deictic gestures point things out. Iconic gestures like waving goodbye or throwing a kiss substitute for words. Lexical gestures are like non-verbal, semiotic onomatopoeia. Gesture Theory posits that language evolved from manual gesturing. Gesture enactment helps us select and recall words. In effect, articulation is a highly specific sequence of gestures performed by the tongue within the vocal cavity. Gesture is one way in which performance is a part of prosody's multimodality. Prosody conducts conversation, syncs work, organizes play, frees emotion, regulates bioprocesses and modulates mood. "... it’s that I experience myself inside these constantly swerving, intensely physical processes of semiosis. Biochemistry and language just don’t feel that different to me." (Donna Haraway). In terms of evolutionary development, in my approach, prosody is the precursor of both language and music. And ontogenically, prosody (beginning with embryoprosodia and even conception and preconceptive impulses to nurture and parent) is the precious proto-linguistic motherese (Infant Directed Speech). Through tone and touch, we're basically made to be infinitely attentive, receptive, nuanced and loving. Although prosody is conventionally considered a suprasegmental phenomenon, I include the segments (the phonemes) as part of prosody — these few dozen fundamental sounds specific to human phonation, as potencies in themselves. In terms of both physics and metaphysics (say, vibration, invisibility, indivisibility) the elements of composition of poetry — the forces that pattern matter — can be directly experienced as cosmogenic, as background silence, un-caused sound, relic rhythm, the beginning's pre-condition, formative phonemic energy, initial arising re-enacted as the impulse to speak. Prosody includes cosmos as part of nature. Nature makes 'our' nature part of the cosmos. Immateriality of language is also part of prosody. Here, I'm not referring to 'transparency' in contradistinction to 'opacity.' The term 'transparency' is often used to disparage poetry unaware of the physicality of its medium; see-through poetry. Prosody is partnered with the immateriality of mind and the inscrutable arising, presence, disappearance of language. Prosody is formative rhythm, if you prefer. It solves and dissolves the hard problem of the division of energy and matter. Spiritual Prosody, if you will. Perhaps Subtle Prosody. Here, Samuel Beckett's statement is perfectly apt: "All poetry, as discriminated from the various paradigms of prosody, is prayer.” Prosody is that which makes language poetry. Which words? Entheogenic words. Logos is human perception of language by means of prosody. Because language exists at all, words are realization no matter what we say. Prosody inscribes spirituality in language. Vocal, vibrational patterns resume materialization. We speak seed sounds. Sequences of phonemes make mantras and orisons. The sequences, as speech, make interrelationship. (We formed around the phones, once upon a time.) Prosodic Listening picks up total interconnectivity: cross-species call and response and rhythmic entrainment. The unstruck word, anahata-śabda, the deepest listening practice. Patanjali's vāg-yoga, union with words as original. Word after word — grammar — the force for breaking through the doubled door of ignorance and ego. The meters each assigned a divinity. Meaning, however changeable (because contingent) is meant to last forever. For the Vedic rishis and rishikas, it was an initial act of ascesis that brought the world about; an operation dimensionlessness performed on itself; a fervor, if you prefer, embodied by the poets; disciplines and anti-disciplines; basic skills and somatic/energetic practices indispensable to the creation of poetry: nature-of-mind meditation, chant, fasting, withdrawal of the senses, pranayama, kumbhaka, dark retreat, medical practice, ritual, nonconformity, total attunement, lunacy, channel opening, becoming luminous. When appropriate, I've integrated ascetic practices in my teaching. I've always presented prosody as experiential, not as a study or topic per se. Prosody is what is most human about us; conscious, attuned conduct; the totally transformative power of tone of voice and potency of words emanating from insight and heart; the pleasure of rhythmic reciprocity. The role of the poet: the responsibility in picking up the pith elements of composition as the means for realizing one's life in being of benefit to others. The writing of the poem is both a small part of the practice of poetry and all there is to it. I've called this capacious approach 'integrative' or 'implicate' prosody. Conscious Prosody, for balancing; Vestibular Prosody, for forthrightness, for conflict resolution, for bioregulation, for being conscious and caring for each other. Prosody Diagnostics. Dead Giveaway Prosody. It's written all over us. I have been variously practicing, researching, presenting, performing, propagating and publishing prosodic works for over 30 years. In 2006, with choreographer Daria Faïn, I co-founded an experiential art-science named The Prosodic Body. In 2008, in order to put into practice and perform our research, Faïn and I then formed a theater group known as The Phoneme Choir, commingling movement and language as choreoprosodia. In 2010, to apply our practice more directly to social, systemic, civilizational and karmic suffering and wellbeing, the choir morphed into The Commons Choir. In March of 2018 I began teaching a prosody course (through the Poetry Project at St. Mark's Church, grâce à Simone White) titled Prosody Privatization Performance and Peace — a poetry and creative writing course with voice, movement, somatic, medical, meditation, mantra and spiritual practices integral to the teaching. This ongoing course is now called Prosody and the Preciousness of Life. And there will be further iterations and subtitles. Although the course is conceived in series, the individual sessions are also stand-alone presentation/discussions, complete in themselves. While the sessions do, for the most part, follow and fulfill a predetermined sequence, the energetics is also experiential and improvisatory; the sessions react to themselves; they may be out of sequence or in sync with breaking news or participant needs. Although the course is whole at every point, at the same time, the elucidation of prosody is exhausting and inexhaustible. It's prosody's ever-present and impossible wholeness that impels me forward, backward, outward, inward, everywhere, anywhere. 'This' story of prosody, told through the cosmogenic stich that brought the world about (and has continually been updated by poets to this day) with a special focus on contemporary poetry, poetics and the current plethora of prosodic innovations.
THE PROSODIC BODY
an experiential field of research intermixing the arts and sciences of prosody through movement performance exhibition cross disciplinary and cross cultural collaboration publication teaching architecture retreat vocalization breathing somatics and medicine
begun in 2006 by choreographer Daria Faïn and architect/poet Robert Kocik
Earliest Prosodic Body community experimentation: construction of a dark retreat / dark listening space two stories underground in an abandoned Wall Street bank vault; sounding of each phoneme all at once; community conduction of phoneme sequences, 2008.
Follow-up proposal for the realization of a permanent anechoic dark retreat practice-space and lab in the midst of the hustle & bustle and hubbub of Lower Manhattan. With the generous support of the Lower Manhattan Cultural Council.
RECENT WORK click skull to link to PATCH THE SKY website
Poetry, speech and the sciences of prosody such as phonology and biolinguistics share the same basic set of prosodic correlates: rhythm, intonation, intensity, sonority, etc. Prosody is affective and interactional. We'd be mutually unintelligible without it (a pathology called aprosodia). Tone of voice causes the condition, transforms the instant, makes up the mind. Prosody conducts conversation, betrays the unspoken, regulates bioprocesses and co-occurs with gesture and intention. Developmentally, prosody is the precursor of both language and music. Ontogenically it is the murmured Motherese. The contemporaneity of the impulse to speak and cosmogenesis is beyond belief.
CONSTRUCTION
THE LANGUAGE OF PROSODY
The language of prosody is... the language. The Prosodic Body interrelates and interrogates 3 dimensions of language:
1 the physicality of speech and writing; the segments (phonemes, syllables, roots, etymons, morphemes, the tones, pitches, intensities of amplitude and stress, the places and manners of articulation and their entrenched phonotactics) in interplay with the suprasegmentals (rhythms, stichs, syntax, strophes, sentences, sound structures) along with breath, gestures, movement and entire embodiment
2 the emotionality, musicality, intentionality and interactivity that are the language of prosody
3 "use'" of language, as a gift given, resolved that our compositions are dedicated to balance and wellbeing
Thus The Prosodic Body is an extensive inquiry into the use of, and nature of, language, with language as its own foil. Is language no more than a cipher or ruse for what we actually mean? How is it related to what's real or true? (It's true that this sentence is not exactly what I feel.) Our interrogation is of course particularly pointed with regard to English. It's not fair to state that the all the globe's environmental-economic-inequity crises are consequents of the sonic and connotative qualities of superpower English. Given the same opportunity for imperious, exploitative overreach, what country would act otherwise? But it is fair to ask, why didn't we, of all peoples, American English speakers, made up of all peoples, crack the code and do otherwise? Ask Karl Rove. Must language be on the fence about harm and helpfulness? ("We’re an empire now, and when we act, we create our own reality." K. Rove.)
These are a few of our modes or further prosodies generated over the last fifteen years through our working process:
reENGLISH UNDISCOVERY REPARATIVE NARRATIVE
IMPLICATE PROSODY OPTATIVE TUNES
POLITICAL ECONOMY PLEAS COSMOGONIC EMANATION
INLAK'ECH (TRANS SUBJECTIVE INTER CHANGE)
BIOCHEMICAL SOUND SEQUENCES SONIC AMULET
PHILOLOGICAL FAIR TRADE PHONOTACTIC UNSHACKLE
SUCH WORDS (ENLIGHTENING WHATEVER THEY SAY)
TOTALLY CATAPHATIC NONARBITRARY SOUND MEANING WORD THING CORRELATION (OR ONTOMEMES)
PHENOMENAL PHONOPHANY
DE RE IF Y WORD EMPTINESS (NOT NONSENSE)
HYPOXIC HEARING (FORGETTING TO BREATHE — THAT ENRAPT)
GRAMMATICAL YOGA (AFTER BHARTRARI) BHEDABHEDA IS'ISN'T
A KA HO In Rgveda X.12, Creator is still No One. Not an indefinite pronoun, The Indefinite Pronoun known as "Who" (in Sanskrit Ka.) Who is also Hiranyagharba, the Within Which — Who, who is also the wherein from which Who whom-self comes. The World Egg, if you wish; Cosmic Cell or the all alone gravitational singularity, if you prefer; the infinitesimally dense and infinite dot. The Yelm, or seed of seed; Golden Womb. Who, from whom — once everything eventually did exist — nothing is different. An early (perhaps earliest) phoneme cosmogony is the recitation of the 3-syllabled a ka ho —attested jointly in the Pancavimśa and Jaiminiya Brahmanas, in the first half of the first millennium BCE. As the story goes, Who and Word (aka Prajapati and Vak) are all alone. Who thought "Let me send forth the this Vak, to pervade the whole universe." As Word "rose upwards as a continuous stream of water" Who segmented the stream, first by uttering "a" to form the earth, followed by "ka" to create the intermediate space of the atmosphere, finally uttering "ho" to demarcate the heavens. Accordingly, the a ka ho sequence maps microcosmically within the mouth as it follows the ancient articulatory phonetics of Sanskrit, moving from the back of the throat through the palate to the lips; from the lowest position (guttural, 'a,' earth) to middle 'k' and then to top and forwardmost 'ho,' enacting the coming forth of the cosmos. (As a footnote: the Vedic-era phonology/pronunciation manuals (Pratisakhyas) crucial in the accurate oral transmission of the hymns) grouped the phonemes according to both place and manner of articulation, i.e., into guttural/palatal/retroflex/dental/labial and stop/approximate/sibilant. The groupings were charted as vargas (magic squares) that could be recited horizontally, vertically or diagonally while maintaining the emanative pattern from backmost bottom to forwardmost top positions. Although a ka ho was the initial event (merci infiniment,) even considering the rounded breathiness of the final "ho," it nonetheless lacks the spaciousness and reverberative nature of our whole, ongoing cosmogenesis. Below, as a practice proposal, I've simply — as minimally as possible — filled out a phonic spectrum for the initial burst, allowing sound to carry space and diversification in every imaginable direction — and back. These sequences can be improvised and chorally conducted in any and every way. a ka ho oh ak a ʊn dæ i ir bɔ uh
phonemic emanations
GRAPHICS & READING ROOMS
from the ongoing continuously updated and reoccurring exhibition titled
UNDISCOVERY
glymphps
