Abstract
William Billings was fascinated by words. He was concerned not only with their meanings but also with their sound, texture, and rhythm. In the prefaces of his tunebooks, particularly The Singing Master's Assistant,' he gives evidence of this fascination by word plays, parodies, and verbal fantasies that depend for their effect as much on the sounds and rhythmic positions of the words as on their meaning. For example, concluding his An Historical Account of G. Gamut, Billings is both eloquent and poetic in his use of words:
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