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The father of modern American poetry, Walt Whitman, celebrates the importance of slang: "...perhaps Language is more like some vast living body, or perennial body of bodies. And slang...is afterward the start of fancy, imagination and humor, breathing into its nostrils the breath of life.

Talks about how rhythmic characteristics of language and accents are reflected in the rhythms of songs.

In a 2011 published study (https://mp.ucpress.edu/content/29/1/51.full.pdf+html), Nicholas Temperley and David Temperley, 2 musicologists, did a musical corpus analysis showing that the Scotch snap, a sixteenth-note on the beat followed by a dotted eighth-note, is common in both Scottish and English songs, but virtually nonexistent in German and Italian songs, and explored possible linguistic correlates for this phenomenon. British English shows a much higher proportion of very short stressed syllables (less than 100 ms) than the other two languages. Four vowels account for a large proportion of very short stressed syllables in British English, and also constitute a large proportion of SS tokens in our English musical corpus. A Scotch snap, as Adam Neely notes in the above video, is the musical, rhythmical counterpart to a trochee in poetry. Say the phrase "Teenage Mutant Ninja Turtles" to hear a series of Scotch snaps.

The German poet Christian Morgenstern once said that "all seagulls look as though their name were Emma." Though Morgenstern was known for his nonsense poetry, there was truth in his suggestion that some linguistic labels are perfectly suited to the concepts they denote. Similar to what we've learned about metaphors, labels and names influence how we think and behave. Studies suggest as soon as you label a concept, you change how people perceive it (aka the Heisenberg principle.) Words evoke images such as 'bouba' and 'kiki' from James Geary's TedTalk, directional concepts such as are "north" with up and "south" with down, and simplicity of pronunciation and spelling all affects how one perceives another.

Straddling the imaginary border between the Balkans and Central Europe, Slovenia is home to two million citizens united by a common language. But this wasn't always the case. For about six hundred years, the Slovene lands were the domain of the Habsburgs, with the occasional appearance by the French, Italians, Hungarians, and Serbs. The Slovene language-and with it the core of Slovene identity-should by all rights have disappeared long ago, subsumed by the much stronger languages and political powers surrounding it. The language survived thanks to the efforts of many people, from the 16th-century protestants who first wrote it down to the 18th- and 19th-century intellectuals who coaxed it out of the church and spread it among the people. Among their arsenal of weapons: a cookbook, wielded by one relentlessly determined priest, Valentin Vodnik. Vodnik was a man of boundless energy, curiosity, and drive: Besides his work as a priest and later a high-school teacher and headmaster, he was fluent in half a dozen languages, wrote some of the first Slovene poetry, published the first Slovene newspaper, and began corresponding with intellectuals in Slovene. Vodnik's mission was popularizing and elevating the reputation of the language at a time when educated Slovenes mostly spoke German, considering their native tongue to be the vernacular of poor illiterate farmers, unfit for polite society and incapable of expressing complex ideas.

Working on the metaphor poems lead me to wonder why metaphors are so important to communication and emotional connection. This article explains why metaphors have a different affect than other types of communication.