It appears that most of these early sound poems are very similar to each other. It sounds very linear and almost structured while the words are either nonsense or comprehensible. It is almost more like a regular structured, rhythmic poetry in a different language. I would wonder how the audience first reacted to these new (in their contemporary) pieces. It sounds like a typical poem without the translation. They might be expecting a translation until it is just nonsense. Although I wonder if any might have somehow drew a connection with the nonsense to scat singing of jazz and (if any would know) pansori. The later sound poets listed, like Carlfriedrich and Cobbing have taken the audio form of poetry in a less structured way. It is almost musical, mechanical, or nature-like. It is less human in that sense that they are expanding sound beyond written words, or rather comprehensible words. I wonder when did that break from the typical structure occured? Dada Visuals, especially Marinetti's Manifesto pieces are rebellious to the academic styles, but the sounds are typical, if not including content. Would the content be like art for art's sake? Dada is, in a way, to save and rebel art and academics for sake of art. Does this idea continue beyond Dada as well?

Khlebnikov's Grasshopper sounds almost just like my Mongol Piece--the participation one.