Variants include the rondeau tercet, where the refrain consists of three verses, the rondeau quatrain, where it consists of four (and, accordingly, the whole form of sixteen), and the rondeau cinquain, with a refrain of five verses (and a total length of 21), which becomes the norm in the 15th century. In larger rondeau variants, each of the structural sections may consist of several verses, although the overall sequence of sections remains the same. In its simplest and shortest form, the rondeau simple, each of the structural parts is a single verse, leading to the eight-line structure known today as triolet, as shown in "Doulz viaire gracieus" by Guillaume de Machaut: If the poem has more than one stanza, it continues with further sequences of aAab AB, aAab AB, etc. Thus, it can be schematically represented as AB aAab AB, where "A" and "B" are the repeated refrain parts, and "a" and "b" the remaining verses. This is followed first by a section of non-refrain material that mirrors the metrical structure and rhyme of the refrain's first half, then by a repetition of the first half of the refrain, then by a new section corresponding to the structure of the full refrain, and finally by a full restatement of the refrain. The older French rondeau or rondel as a song form between the 13th and mid-15th century begins with a full statement of its refrain, which consists of two halves. Verse structure Structural plan of 14th century rondel/rondeau forms ![]() The rondeau is unrelated to the much later instrumental dance form that shares the same name in French baroque music, which is more commonly called the rondo form in classical music. The term "Rondeau" is used both in a wider sense, covering older styles of the form which are sometimes distinguished as the triolet and rondel, and in a narrower sense referring to a 15-line style which developed from these forms in the 15th and 16th centuries. The rondeau is believed to have originated in dance songs involving singing of the refrain by a group alternating with the other lines by a soloist. It is structured around a fixed pattern of repetition of verse with a refrain. Together with the ballade and the virelai it was considered one of three formes fixes, and one of the verse forms in France most commonly set to music between the late 13th and the 15th centuries. The competition quickly spread across the country, finding a notable home in New York City at the Nuyorican Poets Café.įor further information, read Aloud: Voices from the Nuyorican Poets Café, an anthology edited by Bob Holman and Miguel Algarín.A rondeau ( French: plural: rondeaux) is a form of medieval and Renaissance French poetry, as well as the corresponding musical chanson form. The structure of the traditional slam was started by construction worker and poet Marc Smith in 1986 at a reading series in a Chicago jazz club. The work is judged as much on the manner and enthusiasm of its performance as its content or style, and many slam poems are not intended to be read silently from the page. This generation of spoken word poetry is often highly politicized, drawing upon racial, economic, and gender injustices as well as current events for subject manner.Ī slam itself is simply a poetry competition in which poets perform original work alone or in teams before an audience, which serves as judge. While many poets in academia found fault with the movement, slam was well received among young poets and poets of diverse backgrounds as a democratizing force. This interest was reborn through the rise of poetry slams across the United States. Poetry began as part of an oral tradition, and the Beat and Negritude poets were devoted to the spoken and performed aspects of their poems. One of the most vital and energetic movements in poetry during the 1990s, slam has revitalized interest in poetry in performance. ![]() Bob Holman, from “Praise Poem for Slam: Why Slam Causes Pain and Is a Good Thing” ![]() Hang out with us old guys? If I was young, I’d beīecause Bob Kaufman says, “Each Slam / a finality.” Because Allen Ginsberg says, “Slam! Into the Mouth ofīecause Gregory Corso says, “Why do you want to
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