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Therapeutic songwriting : developments in theory, methods and practice
\"Over the past ten years songwriting has emerged as a popular method for many clinicians in a therapy context. This book provides the first comprehensive examination of the contemporary methods and models of songwriting involved and also discusses the environmental, sociocultural, individual and group factors which might support or constrain this therapeutic process. The role of music and music technology is highlighted as an important component of the therapy process illustrates the uniqueness of songwriting as a therapeutic tool. Methods that focus predominantly on lyric creation, music creation, or on both are described and illustrated by case vignettes and samples of song materials, and supported by pictorial representations of the methods. Finally this book also pays attention to comparing and contrasting models of songwriting according to the orientation of the therapist. Models outlined include those informed by behavioral, cognitive-behavioral, psychodynamic, humanistic, feminist, community music therapy, and resource-oriented music therapy approaches\"-- Provided by publisher.
Book
El corazón frente al mar de Luis Rafael Sánchez como bolero crítico
This article analyzes how Puerto Rican author Luis Rafael Sánchez incorporates the bolero as a musical genre into his recent essay, El corazón frente al mar (2021). I maintain that both the bolero and Sánchez's essay are texts as defined by Roland Barthes because of how they demand the listener's/reader's creative interpretation. I analyze the essay and the lyrics of the boleros to which Sánchez refers to demonstrate how the essay dialogues with multiple themes of the patriotic Puerto Rican bolero while modernizing its content. Ultimately, I argue that the essay constitutes a narrative bolero that both celebrates and scrutinizes Old San Juan, Puerto Rico, and the Caribbean. Resumen: Este artículo analiza el ensayo El corazón frente al mar (2021) del autor puertorriqueño Luis Rafael Sánchez a partir de su incorporación del género musical del bolero. Sostengo que tanto el bolero como el ensayo de Sánchez son textos en el sentido que propone Roland Barthes por la forma en que exigen la interpretación creativa del oyente/lector. Analizo en paralelo el ensayo y la letra de algunos de los boleros a los que se refiere Sánchez a fin de mostrar cómo el ensayo dialoga con varias de las temáticas del bolero patriótico puertorriqueño a la vez que moderniza su contenido. En última instancia, arguyo que el ensayo de Sánchez constituye un bolero narrativo que a la vez celebra y escudriña el Viejo San Juan, Puerto Rico y el Caribe.
Journal Article
The poetry of pop
A trailblazing exploration of the poetic power of popular songs, from Tin Pan Alley to the Beatles to Beyonce and beyond. Encompassing a century of recorded music, this pathbreaking book reveals the poetic artistry of popular songs. Pop songs are music first. They also comprise the most widely disseminated poetic expression of our time. Adam Bradley traces the song lyric across musical genres from early twentieth-century Delta blues to mid-century rock 'n' roll to today's hits. George and Ira Gershwin's \"Fascinating Rhythm.\" The Rolling Stones' \"(I Can't Get No) Satisfaction.\" Rihanna's \"Diamonds.\" These songs are united in their exacting attention to the craft of language and sound. Bradley shows that pop music is a poetry that must be heard more than read, uncovering the rhythms, rhymes, and metaphors expressed in the singing voice. At once a work of musical interpretation, cultural analysis, literary criticism, and personal storytelling, this book illustrates how words and music come together to produce compelling poetry, often where we least expect it.
Book
Song lyrics have become simpler and more repetitive over the last five decades
Music is ubiquitous in our everyday lives, and lyrics play an integral role when we listen to music. The complex relationships between lyrical content, its temporal evolution over the last decades, and genre-specific variations, however, are yet to be fully understood. In this work, we investigate the dynamics of English lyrics of Western, popular music over five decades and five genres, using a wide set of lyrics descriptors, including lyrical complexity, structure, emotion, and popularity. We find that pop music lyrics have become simpler and easier to comprehend over time: not only does the lexical complexity of lyrics decrease (for instance, captured by vocabulary richness or readability of lyrics), but we also observe that the structural complexity (for instance, the repetitiveness of lyrics) has decreased. In addition, we confirm previous analyses showing that the emotion described by lyrics has become more negative and that lyrics have become more personal over the last five decades. Finally, a comparison of lyrics view counts and listening counts shows that when it comes to the listeners’ interest in lyrics, for instance, rock fans mostly enjoy lyrics from older songs; country fans are more interested in new songs’ lyrics.
Journal Article
Dickinson's Misery
How do we know that Emily Dickinson wrote poems? How do we recognize a poem when we see one? InDickinson's Misery, Virginia Jackson poses fundamental questions about reading habits we have come to take for granted. Because Dickinson's writing remained largely unpublished when she died in 1886, decisions about what it was that Dickinson wrote have been left to the editors, publishers, and critics who have brought Dickinson's work into public view. The familiar letters, notes on advertising fliers, verses on split-open envelopes, and collections of verses on personal stationery tied together with string have become the Dickinson poems celebrated since her death as exemplary lyrics.
Jackson makes the larger argument that the century and a half spanning the circulation of Dickinson's work tells the story of a shift in the publication, consumption, and interpretation of lyric poetry. This shift took the form of what this book calls the \"lyricization of poetry,\" a set of print and pedagogical practices that collapsed the variety of poetic genres into lyric as a synonym for poetry.
Featuring many new illustrations from Dickinson's manuscripts, this book makes a major contribution to the study of Dickinson and of nineteenth-century American poetry. It maps out the future for new work in historical poetics and lyric theory.
eBook
Lines and Lyrics
An introduction to poetry geared toward the study of
song Bruce Springsteen, Benjamin Britten, Kendrick Lamar,
Sylvia Plath, Outkast, and Anne Sexton collide in this inventive
study of poetry and song. Drawing on literary poetry, rock, rap,
musical theater, and art songs from the Elizabethan period to the
present, Matt BaileyShea reveals how every issue in poetry has an
important corresponding status in song, but one that is always
transformed. Beginning with a discussion of essential features such
as diction, meter, and rhyme, the book progresses into the realms
of lineation, syntax, form, and address, and culminates in an
analysis of two complete songs. Throughout, BaileyShea places
classical composers and poets in conversations with contemporary
songwriters and musicians (T. S. Eliot and Johnny Cash, Aaron
Copland and Pink Floyd) so that readers can make close connections
across time, genres, and fields, but also recognize inherent
differences. To aid the reader, the author has created a Spotify
playlist of all the music discussed in this book and provides time
cues throughout, enabling readers to listen to the music as they
read.
eBook
The Issue of the Lyrics (Verbal Text) of the German Lied: The Original vs. Translations
The variants of translations of the poetic lyrics of Richard Strauss’s song Zueignung, Op. 10 No. 1 (to Hermann von Glim’s poem, 1885) into Lithuanian, done in the Soviet era and kept in the archives of the Lithuanian Radio and Television (LRT), testify to the negative influence of the translation process on the interrelationship between the poetic and musical texts in respect of the original piece. The methodology of comparing the original and translated lyrics used in the research revealed considerable interlinguistic and intralinguistic differences emerging after the lyrics had been translated into Lithuanian. In the analysis of translations of the texts of Strauss’s song Zueignung, Op. 10 No. 1, the authors relied on the model of translation criticism by Christiane Nord (1991, 2005). Based on it, several translation tactics applied intuitively by the Lithuanian translators in the process of the translation of the lyrics were observed. We refer to Vinay and Darbelnet’s indirect translation method (1958), Recker’s all kinds of translation transformation (1950), and Nord’s three-phase model (1991). It was impossible to identify the specific methods that the translators used in the translation of the verbal texts as the competence of a researcher into translation studies is required in order to establish such facts. The analysis of the translation variants of the poetic lyrics of Strauss’s song Zueignung led to the conclusion that in the translation process, the translators frequently changed the verbal syntax of the Lied, which contradicted the situations of rhetorisation of the musical syntax and the musical text. The results of the research prove that, from the point of view of the coexistence of the verbal and the musical texts, in quite a few cases automatic adaptation of the translated text to a stable musical text leads to the situation when musical works of the Lied genre can no longer function adequately. The reason for this is the discrepancy between verbal and musical syntaxes and their semantic meanings, which contradicts the idea of a meaningful interaction between the composer’s two texts. After translating a verbal text into another language, a Lied-type composition can convey the composer’s idea only in the presence of a harmonious structural and meaningful interaction between the two texts.
Journal Article