Rājatarangiṇī ( "The River of Kings") is a metrical historical chronicle of north-western Indian subcontinent, particularly the kings of Kashmir, written in Sanskrit by Kashmiri Brahman Kalhaṇa in 12th century CE.

Although the long and short vowels are phonetically distinguished by vowel quality, recognition of vowel length in phonological representations is required, as the distinction between long and short vowels is essential for the operation of the metrical rule of vowel syncope that characterizes the Ottawa and Eastern Ojibwe dialects, as well as for the rules that determine word stress.

Placement of word stress is determined by metrical rules that define a characteristic iambic metrical Foot, in which a Weak syllable is followed by a Strong syllable.

The structure of the metrical Foot defines the domain for relative prominence, in which a Strong syllable is assigned stress because it is more prominent than the weak member of the Foot.

He was a professor of linguistics and literary criticism at the Autonomous University of Barcelona and wrote essays and articles on linguistic theory at the Serra d'Or magazine between 1969 and 1972, under the title "De causis linguae", including a draft for a metrical theory based on the phonological elements in Chomskyan grammar. He translated into Catalan Kafka's "The Process", "Language" by Leonard Bloomfield, and "Cartesian linguistics" by Noam Chomsky.

"Canaan's Happy Shore" has a verse and chorus of equal metrical length and both verse and chorus share an identical melody and rhythm.

Hasdai brought a number of men of letters to Córdoba, including Dunash ben Labrat (innovator of Hebrew metrical poetry), Menahem ben Saruq (compiler of the first Hebrew dictionary, which came into wide use among the Jews of Germany and France.

Against a Dwarf (Old English: Wið Dweorh) is an Anglo-Saxon metrical charm found in the Lacnunga.

In 1877 he published "The Unknown Eros", which contains his finest poetic work, and in the following year "Amelia", his own favourite among his poems, together with an interesting essay on "English Metrical Law", appeared.

A Beit (also spelled bait, Arabic, literally "a house") is a metrical unit of Arabic, Iranian, Urdu and Sindhi poetry.

MacDonald P. Jackson argues that ""Woodstock"'s contractions and linguistic forms, expletives, metrical features and vocabulary all point independently to composition in the first decade of the seventeenth century", a conclusion which would make the play's relationship with Richard II that of a "prequel" rather than a source.

The Manusmriti (or "Laws of Manu", Sanskrit ' ; also known as ' ), is the most important and earliest metrical work of the "" textual tradition of Hinduism.

The book is written in simple verse as opposed to the metrical verse of the preceding dharmasutras.

An English metrical translation was provided by Boris and Clare Anderson.

In Ancient Greek hexameter poetry and Latin literature, lines followed certain metrical patterns, such as based on arrangements of heavy and light syllables.

In his introduction, Hass wrote, "There are roughly three traditions in American poetry at this point: a metrical tradition that can be very nervy and that is also basically classical in impulse; a strong central tradition of free verse made out of both romanticism and modernism, split between the impulses of an inward and psychological writing and an outward and realist one, at its best fusing the two; and an experimental tradition that is usually more passionate about form than content, perception than emotion, restless with the conventions of the art, skeptical about the political underpinnings of current practice, and intent on inventing a new one, or at least undermining what seems repressive in the current formed style.

It is also possible for a 21/8 time signature to be used for an irregular, or "additive" metrical pattern, such as groupings of 3 + 3 + 3 + 2 + 3 + 2 + 3 + 2 eighth notes.

This treatment of rhythm subsequently became so habitual for Stravinsky that, when he composed his Symphony in C in 1938–40, he found it worth observing that the first movement had no changes of meter at all (though the metrical irregularities in the third movement of the same work were amongst the most extreme in his entire output).

Metrical phonology is a theory of stress or linguistic prominence.

Metrical phonology holds that stress is separate from pitch accent and has phonetic effects on the realization of syllables beyond their intonation, including effects on their duration and amplitude.

The perceived stress of a syllable results from its position in the metrical tree and metrical grid for the phrase it appears in.

Linguistic prominence in metrical phonology is partially determined by the relations between nodes in a branching tree, in which one node is Strong (S) and the other node or nodes are Weak (W).

Metrical trees allow us to change the stress pattern for a phrase by switching S and W sister nodes.

The tree in (1) represents the metrical structure for the sentence "Doctors use Penicillin." when the sentence is providing all new information.

The same metrical structure would be used when the sentence has narrow focus on the word 'penicillin'; for example, if it was used in response to a question like "What do doctors use to treat that disease?".

However, we need a new metrical structure to put narrow focus on the word 'doctors', for example, if the phrase is used in response to the question "Who uses penicillin?"

This hypothesis states that in metrical trees, all prosodic constituents at a particular level consist exclusively of constituents from the level below.

In addition to describing prominence relations between words, metrical trees can also describe prominence relations within words.

In a Metrical grid, all the words in the phrase are arranged along the bottom and the rows of the grid indicate different levels of prominence, as in (3).

(3) Example metrical grid The higher the column of Xs above a syllable, the more prominent the syllable is.

The metrical grid and the metrical tree for a particular utterance are related in such a way that the Designated Terminal Element of an S node must be more prominent than the Designated Terminal Element of its sister W node.

So in (3), the metrical grid for the utterance in (1), '-ci-' must be more prominent than 'doc-' because '-ci-' is the Designated Terminal Element of the highest S node and 'doc-' is the Designated Terminal Element of its sister W node.

The structure of the metrical grid explains a number of otherwise surprising features of prominence patterns in language.

Using a metrical grid, this rule can simply apply to the rightmost element in the highest row of the grid.

Therefore, what seemed to be a non-local application of the phrasal stress rule is reinterpreted as the local application of the rule to the highest row of the metrical grid.

Metrical grids were originally developed to handle a phenomenon that appears in some languages, including English, German, and Masoretic Hebrew, in which stress shifts to avoid a 'stress clash'.

(4) Pre-stress-shift metrical grid Stress clashes can be resolved by the Rhythm Rule, which reverses the S-W relation for some pair of sister nodes, as long as such a reversal does not put a Designated Terminal Element of an Intonational Phrase under any W node, and doesn't put a [- stress] syllable directly under an S node.

(5) Post-stress-shift metrical grid This process is optional, and seems to be applied more often in some circumstances than others.

Hayes (1981) describes four metrical parameters which can be used to group languages according to their word-level stress patterns.

Hierarchical patterns of prominence like those represented in metrical trees can also apply to rhythm in music.

The timing of notes also depends on the metrical tree for a particular tune.

Metrical phonology offers a number of advantages over a system representing stress as a feature that applies to individual segments or syllables, without reference to the other syllables in a phrase.

By not treating stress as a feature of an individual segment, metrical phonology avoids the inexplicable differences between the stress feature and other phonological features.

Metrical phonology also correctly predicts the ambiguity between broad and narrow focus.

There are two possible metrical patterns for two-word phrases: S-W and W-S.

Finally, metrical phonology is consistent with patterns of deaccenting in which accents can shift both left and right.

New literary genres such as the essay (Montaigne) and new metrical forms such as the sonnet (Petrarch) and Spenserian stanza made their appearance.