And by "new" I mean "new to me." J.C. Pope first published his book in 1942; I have the revised 1966 second edition. It was on my list of "things to check out from the library" from years ago; it wasn't until I read Christopher Page discussing it in his dissertation that I knew it MUST BE MINE.
Essentially, he takes the Sievers types and junks them, replacing them with a structure that is entirely more suitable for musical performance.
...the Sievers types. A fellow name of Sievers went through the Old English poetic corpus and tried to understand its structure. He deduced that each line is made of two half lines, and that each half line corresponds to one of five major rhythmic patterns, e.g., "strong weak, strong weak", "strong, weak weak, strong," "weak strong, weak strong" and "weak, strong strong, weak." (And the there's his D types, which use three different levels of stress and I still don't fully grok them.)
I'm only a few pages in, but Pope's basic idea seems to be that each half-line is "isochronous," which is a fancy way of saying "is spoken in the same amount of time as every other half-line," which in turn ends up corresponding directly to "can be represented as two bars of 2/4 music." To make this work out, he has to insert rests into the bar, often at the beginning of a half-line. Which would be a great place to strum a lyre, as he points out.
Hey, no wonder I like this idea so much. I was onto a similar track back in 2008, before I even had this blog. Ha HA I feel all smart now.
Anyway, it seems to be an important book with huge implications for the performance of OE poetry. Composition, not so sure yet.