re--
>Why can't the pauses in _I got you Under My skin_ played on Radio 4 this
>morning not be as wonderful as those in Mozart's 40th Symphony or his
>quintets?
Exactly, Sinatra was a master-singer and I'm sure you could learn a lot
about phrasing poetry from listening to him. He had that way of cruising
above the measure, playing with it and pulling at it and especially a
certain kind of drag, a weighted delaying at moments of accession and
return. Bessie Smith did it too, sometimes too much but usually
brilliantly, and lot of other master-singers, like Nusrat Fatah Ali Khan or
Zorba Drebetic... I think Doug's experiments with an oscilloscope showed
this kind of thing happening in the best performances of poetry, but it
also happens in the writing of it when you have a known measure.
Unfortunately we gave that up because it was considered authoritarian or
something, leaving us floating above nothing.
Peter Riley
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