Here is an interesting question that I’d like people to consider: why do we expect musical theatre to make use of pure rhyme or celebrate lyrics that are crafted using pure rhyme more readily than those that employ other kinds of rhyme? It’s a convention that I think many people accept as a standard for musical theatre, but is it only convention that makes it so?
When one takes into consideration that other kinds of rhyme actually are identified in English as different kinds of rhyme, rather than being “wrong”, should this expectation shift at all? In An Introduction to Rhyme, Peter Dale analyses forty different kinds of rhyme, a list of which can be seen here. Do none of these except the certain forms of traditional pure rhyme have a prize place in musical theatre? If so, why?
I’ve also posed this question on Finishing the Chat and I think the responses here and there might lay the foundation for some interesting discussion on musical theatre practice. Feel free to comment in the comment box below if you have anything to contribute to the discussion.