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The features used are: (1) the syllable's position within the line, (2) the syllable's length in characters, (3) the syllable's characters, (4) elision (last two characters of previous syllable and first two characters of focal syllable), (5) syllable weight, and (6) word boundaries.

We construct a supervised Conditional Random Field (CRF) model to predict the metrical value of syllables, and subsequently investigate medieval German poets' use of semantic and sonorous emphasis through meter. The seventh value is a double mora, i.e., a long stressed syllable. Single or half mora syllables can carry any one of three types of stress, resulting in six combinations. There are a total of eight possible metrical values. The predominating pattern in MHG verse is the alternation between stressed and unstressed syllables, but syllable length also plays a crucial role. Middle High German (MHG) epic poetry presents a unique solution to the linguistic changes underpinning the transition from classical Latin poetry, based on syllable length, into later vernacular rhythmic poetry, based on phonological stress.

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The interaction is based on a series of matches and mismatches between the two structures, in a game of tension managed by metrics. In addition, this work argues that the relationship between the two structures is bidirectional: on the one hand, phonology sees metrical structure and fills it with its elements on the other hand, the metrical structure can stretch the possibilities of phonological material. colon or foot) is going to play a prominent role in the poetic form. phrase or word) plays a prominent role in the language consequently, metrics selects which of its layers (i.e. The phonological macroparameter defines which prosodic domain (i.e. In particular, the metrical template selects a macroparameter based on the macroparameter selected by phonology. When a metre is borrowed, this needs to be adapted to the metrical structure which mirrors the phonology of the recipient language. A comparison of the different ways in which the same source metre was incorporated in various European poetic traditions sheds light on the role played by phonology in the process of adaptation. The case study is Renaissance metre and its implementation in a set of Romance and West-Germanic languages.

The interaction between phonology and metrics is explored from two perspectives: one looks at poetic aspects as evidence for phonological characteristics the other explores to what extent phonology conditions the development of poetic tradition and by what means the metrical template is filled by phonological material. This dissertation investigates the interface between phonological and metrical structure. Despite being initially conceived as models suitable for semantic tasks, our results suggest that transformers-based models retain enough structural information to perform reasonably well for Spanish on a monolingual setting, and outperforms both for English and German when using a model trained on the three languages, showing evidence of the benefits of cross-lingual transfer between the languages. In this paper, we compare the automated metrical pattern identification systems available for Spanish, English, and German, against fine-tuned monolingual and multilingual language models trained on the same task. This opens the door for interpretation and further complicates the creation of automated scansion algorithms useful for automatically analyzing corpora on a distant reading fashion. Some rhetorical devices shrink the metrical length, while others might extend it.

Intricate language rules and their exceptions, as well as poetic licenses exerted by the authors, make calculating these patterns a nontrivial task. The splitting of words into stressed and unstressed syllables is the foundation for the scansion of poetry, a process that aims at determining the metrical pattern of a line of verse within a poem.

English scansion