"['Leaving the City'] has the rhyme at the end of each line and the internal rhymes that follow one meter, and a secondary set of internal rhymes that sort of quietly annunciate a contrary meter that's overlaid on the first meter." She also said she "overlaid a contrary musical meter" on top of all that, and that I had to be "conscious of the sublimated contrary meter in order to trace the rhyme."
The rhyme scheme for that song was so complicated that she had to create a chart to trace it: "I had a little key," she said. "So there was like a crescent moon and a square and a heart and a diamond representing the different considerations. The heart represents this one particular consideration of rhyme, the diamond represents a different consideration of rhythm, and here's the secondary rhyme and here's the tertiary rhyme. Sometimes they would overlap, and that was a fun little puzzle. I'd have to go back and change what led up to it for all the different imperatives to agree."
...I asked Newsom why she goes to the trouble of constructing such elaborate musical structures.
"The thing is, I don't know why," she said. "But... I do have a real belief that the exact right word—in terms of conveying meaning as efficiently and correctly and concisely as possible—will also be the word that agrees in terms of rhyme, musical weight, syllabic weight, beauty, and elegance. I think that words are magical. All of that effort is all about uncovering the word that is just sitting there waiting for you, and when you find it, it's like the equivalent of watching your team get a touchdown. It's just like WHOA. And you run in circles and say, 'Fuck yeah!'"
– Rich Smith, from "The Deeper You Dive, the More There Is to Joanna Newsom's Music" (x)
39 notes ·
View notes
Statistics
We looked inside some of the posts by
tealady
and here's what we found interesting.