The Music : Where Is Wherever, Is It A Song Written And Produced By The Famous Colombian Writer

Upon arriving in Cuba, the song El taxi, by Osmani was everywhere to be heard. The words: ‘Lo paró con una mano, lo paró que yo la vi’ and the music are really catchy and easy to remember. Talking to Cubans, explained to me that ‘real meaning’ of the lyrics and the meaning of doble sentido. So after understanding the core of the Cuban reggaeton, to play with words and senses, I was quite shocked by the words that I started singing and the actual meaning they interpreted, but on the other hand, I was amazed by the style the reggaetoneros used in order to say one thing and mean another. This song El taxi has a highly sexual connotation, a guy meets a girl on the way to the club, she was waiting for a taxi and he describes her appearance. But

While reading the poem a second time over the audience notices a very controlled rhyme scheme. The poem consists of a rhyme scheme of A,B,A,B,C,D,C,D … until we reach the last two lines of the poem where Line 13 rhymes directly with Line 14. It is worth to note that the author doesn’t follow through to the end with

The artist chooses an upbeat and happy tempo that repeats throughout the song. He chooses this repeating tempo to draw the listener’s attention to the lyrics of the song. The slow, yet happy tempo paired with the artists bright and cheery voice creates a sense of ease and happiness within the song itself, and the audience.

Seeing this song touches the heart of audiences. This song depicts pain and suffering of Ilse, but at the same time it also indicates about the love of a beautiful girl towards her lover. She inspires her lover and does not hesitate in portraying pain and sufferings of her own life. Ilse has been portrayed in this song as very practical and bold girl who believes in making her present instead of crying unnecessarily about her past.

The song is written about an attractive woman that appeals highly to Robert Plant. He speaks of the way she moves and her physical appearance in a very sexual

She also presents a slight rhythm to the reading that allows for smooth reading. In keeping with her open form, there is no set scheme to the rhyme pattern. However, there is a single ending sound constantly repeated without a set pattern throughout the work. She also connects pairs of lines at random just for the sake of making connections to make that particular stanza flow. At the same time, she chose blatantly not to rhyme in certain parts to catch the reader’s attention.

The poem also uses end rhyme to add a certain rhythm to the poem as a whole. And the scheme he employs: aabbc, aabd, aabbad. End rhyme, in this poem, serves to effectively pull the reader through to the end of the poem. By pairing it with lines restricted to eight syllables. The narrator creates an almost nursery-rhyme like rhythm. In his third stanza however, his last line, cutting short of eight syllables, stands with an emphatic four syllables. Again, in the last stanza, he utilizes the same technique for the last line of the poem. The narrator’s awareness of rhyme and syllable structure provides the perfect bone structure for his poem’s rhythm.

This poem has a both rhythm and rhyme as it is told in rhyming couplets and littered with alliteration. An example of alliteration is in the second line of the poem which reads "her hardest hue to hold"

In this song, she begins by describing what she likes and how her personality is. The first line starts off with “A mi me gusta andar de pelo suelto” which translates to “I like wearing my hair down” which is true for me. However, there’s an even deeper meaning behind it, meaning being that she likes being free. The following lines are “Me gusta todo lo que sea misterio/ me gusta ir siempre en contra del viento/ si dicen blanco yo les digo negro.” In English these lines mean, “I like everything that’s mysterious/ I always like going against the wind/ If they tell me white, I tell them black.” Hearing these lines really gives off the message that she likes being rebellious and different when compared to the people around her.

The poem, “Po’ Boy Blues” uses rhyme in the fourth and sixth lines of each stanza.

At the end of many lines, there are also multiple dactylic feet, “sexual” and “vegetable” (Martinez 5-7), creating an aloof sing-song pattern which does “not often sound appropriate for serious subject matter” (Literary). The sing-song pattern contradicting the very serious subject of this song are how Melanie’s songs usually sound. The disruption of patterns and volatile tones of her songs achieve a unique perspective for her listeners. I believe it’s a way to make people see how chaotic life can be, exposing the fact that we like to believe we have total control over our lives when we don’t. We can be easily influenced by others.

In the song, "Viva la Vida", by Coldplay, shows the central theme of how leaders who abuse their power will be brought to justice and experience great regret for their actions. The speaker in this song, a ruler of a kingdom, constantly references his previous experiences in order to achieve this. For example, the speaker uses the cluster of words relating to violence, such as "sword", "shield", "missionaries", and "cavalry" in order to describe how he abused his power with violence and fear. While most of the poem rhymes, the lines that the speaker says that don't rhyme in stanza 3 ("For some reason I can't explain"/"Once you were gone there was never") shows a turning point between his past experiences, when he abused his power; and the present

The poem contains six quatrains, and does not follow any consistent rhyme scheme. Every line starts with a strong beat and ends up with a weak beat. The first and third lines in each stanza have iambic tetrameter, but the second and fourth lines do not contain any consistent meter. The feet generate a rhythm

There is a rhythm throughout the poem with strong rhyme, this pattern is like heavy breathing you have when you try to go to sleep it could also represent the rhythmical counting of sheep.

The located enjambments help the two fragments connect and keep the rhythm going. There is also alliteration that appears specifically consonances like having, heavenly, and hill. By using alliteration, the poet is describing and building up suspense to the truth of the resemblance between the sun and the man. Interestingly enough, the first line of the first two quatrains both have 11 syllables in them, and they relate because the gracious light is coming from the sky, and to get there, you must climb the steep up heavenly hill, using 11 syllables demonstrates the connection between the two lines. There is also an off-rhyme of eye-majesty and age-pilgrimage, this was probably done to be able to correctly fit 11 syllables in one line while trying to get straight to the point.