for "Phonology, Verse Metrics, and Music," by Stuart Frankel,
advisor: Stanley Boorman.
word count = 349

Part I outlines some generalities about poetic metrics and musical settings in several languages.
It is convenient to distinguish two types of art verse in English and German: "iambic," which counterpoints an irregular rhythmic surface against a steady metrical background, and "accentual," which lacks such rhythmic counterpoint. Only the latter is common in lyric verse. The rarer iambic lyric verse falls into stereotyped patterns, indicating its lack of flexibility when dominated by the metrical structure of music.
In Romance-language verse, accents are not structural except at the ends of lines. Romance-language text settings can disregard many textual accents without disturbing the verse metrics. Spanish settings can disregard the textual accents categorically. Italian settings rarely disregard the textual accents except in strophic forms. French settings may disregard the textual accents in favor of a regular pattern abstracted from the verse metric.
Classical Greek and Latin poetic metrics differed in that the latter took word-stress into account. Greek music respected syllable weight, but not the moraic structure.
Part II discuss some specific issues.
"The pronunciation of Latin in medieval Paris": The vernacular affected Latin pronunciation, but the accent was generally placed as in Classical Latin until around 1250.
"Du Fay's Italian works": Du Fay's Italian texts show numerous localizable non-standard forms as well as interference from French.
"Local forms in MSS": Selected pieces in Oxford Canon. Misc. 213 show few localizable forms, but linguistic evidence indicates that Escorial A likely originated in Picardy.
"German chorales, Swedish verse, Buxtehude's Swedish-texted works": The earliest German chorale texts had the native stress-counting meter. The following generation had a syllable-counting meter. By Opitz's time, a third meter took permanent hold; this regulated both the stresses and the syllable count. Swedish chorales followed the German developments with a lag of several decades. Buxtehude's Swedish-texted works contain anomalies of declamation due to the primitive state of Swedish poetics.
Appendices: The pentameter niches in English-language popular music; and texts on seventeenth-century Swedish poetic theory.
The dissertation is available in electronic form free of charge from the author.