Robert J Mulderrig

On Lyrical Phonetics Robert J Mulderrig

Lyraphonakousmato: It all starts with an Utterance. Be it short or long, it has to contain inside of itself the reflections of the universal will that created it. Somewhere in The 1970's, I heard about an old Russian School of Thought that had something to do with how Words and Music work together. At the time I did not have any idea what was being imparted onto my youthful ears. As I began to set my words to my Music I found that some types of words just did not "Sit-Well" with The Tune. I attempted upon many occasions to recall "That School of Thought," but to no fortune. Trips to The Library (this was long before "The Internet-of-Things") found not a single trace of what I sought. There was no True Treatise on the subject. I asked around school and college and random Musicians, but still nothing. What little I could remember was that, before The First World War, Russia had a Great Musical Heritage that had been Literarily Burn by The Communists and their ilk. I read some Tzarist History and inquired with Librarians, still nothing. I never gave up, and over the course of Forty years each time I composed a "New Song," I kept in mind this concept: The Sonority of the Pronunciation of The Lyric is imbued by, and with, The Harmonic Structure of The Music. Sad Songs need sad Tonalities, whilst Happy require Joyful Modalities. Seems simple enough, but... The relationships between Word-Tone, Speech-Sound, and Musical-Meaning are of The Essences in Sonic-Communications.