Journal articles: 'Songwriting'

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Kratus, John. "Songwriting." Music Educators Journal 102, no. 3 (March 2016): 60–65. http://dx.doi.org/10.1177/0027432115620660.

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Hughes, Diane, and Sarah Keith. "Aspirations, considerations and processes: Songwriting in and for music education." Journal of Popular Music Education 3, no. 1 (April 1, 2019): 87–103. http://dx.doi.org/10.1386/jpme.3.1.87_1.

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This article examines an undergraduate songwriting course offered at tertiary level. The article begins by providing a contemporary context for the song and songwriting processes. In doing so, it considers various definitions of song and of songwriting. These considerations provide context for the course development and its subsequent implementation. The associated research explores student motivations and objectives for undertaking the course and for engaging in songwriting more broadly. In addition to identifying a range of student aspirations, findings confirmed a diversity of musical abilities, instrumentation choices and songwriting processes among participants. Such diversity in creative modes reflects the need for educators to consider a range of songwriting processes and components. The article concludes by further considering how songwriting accounts for individualized creative expression in music education.

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Clarkson, Amy. "Psychodramatic Songwriting." Journal of Psychodrama, Sociometry, and Group Psychotherapy 66, no. 1 (March 2018): 151–52. http://dx.doi.org/10.12926/18-00001.1.

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Eickholt, Jasmin. "Musiktherapeutisches Songwriting." Musiktherapeutische Umschau 38, no. 1 (March 15, 2017): 17–27. http://dx.doi.org/10.13109/muum.2017.38.1.17.

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Tolstad, Ingrid M. "“Bring Your A-game and Leave your Ego at the Door!”." IASPM Journal 13, no. 1 (July 28, 2023): 7–25. http://dx.doi.org/10.5429/2079-3871(2023)v13i1.2en.

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The established industry practices of collaborative songwriting sessions and camps are vital sites for the acquisition and transferal of songwriting skills and knowledge. While there is a limited body of research into collaborative songwriting and writing camps as such, there is even less academic work done on their role as (informal) settings for training and education of songwriters. Based on fieldwork in an international songwriting camp, the article maps out and explores how aspiring songwriters are socialized into the creative practices of songwriting. Understanding collaborative songwriting as a form of social interaction, and thus inherently characterized by unequal distributions of and negotiations over (creative) power, it analyzes its frameworks of knowledge as an assemblage that is continuously (re-)produced through its ongoing interactional practices.

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McIntyre, Phillip. "Taking creativity seriously: Developing as a researcher and teacher of songwriting." Journal of Popular Music Education 3, no. 1 (April 1, 2019): 67–85. http://dx.doi.org/10.1386/jpme.3.1.67_1.

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This article provides a brief overview of extant scholarly songwriting literature as well as accounting for the broader research into creativity, primarily from psychology and sociology. It outlines work from popular music studies that focuses on creativity before zooming in closer to studies directly addressing songwriting. Combining this research tradition with the wealth of primarily anecdotal, non-academic material about songwriting, this article then sets out an autoethnographic account of the author’s own development as a teacher of songwriting with reference to how my scholarly and musical work has informed the development of my own teaching of songwriting.

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Bishop, Dave. "The benefits of prosody for music educators and students: Unpacking prosody and songwriting strategies in the classroom." Journal of Popular Music Education 3, no. 1 (April 1, 2019): 113–28. http://dx.doi.org/10.1386/jpme.3.1.113_1.

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Literary and linguistic prosody principles can provide music educators and students with constructive, time honoured, deeply creative songwriting strategies. This article is an opportunity to share a direct and unique classroom experience of teaching prosody within songwriting. Through discussing a personal songwriting and teaching practice grounded in prosody, this article will present recommendations for a specific pedagogy underpinned by prosody for use in the songwriting classroom. Within this article the principles of literary and linguistic prosody will be outlined and discussed alongside songwriting strategies such as writing from a title, matching stressed syllables to stressed beats, metre, song structure and rhyme. The principle of prosody will also be expanded to involve the idea of unity and will be explained in relation to songwriting areas including rhythm, harmony, melody and performance.

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Yoeli, Heather, Sharon Durant, Sarah McLusky, and Jane Macnaughton. "‘We’re all in the same boat’: How participatory songwriting might enhance Singing for Breathing’s psychosocial benefits." Journal of Applied Arts & Health 12, no. 2 (July 1, 2021): 125–44. http://dx.doi.org/10.1386/jaah_00060_1.

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Within arts and health, participatory songwriting is recognized as an enjoyable and effective way to encourage emotional connectedness and social cohesion. This study used phenomenological ethnography to consider how collaborative songwriting might enhance the participatory experience of a Singing for Breathing group for people with breathlessness and chronic lung disease. Participants used the songwriting process to celebrate and develop their shared identity, musical and cultural heritage. Songwriting enabled participants to share their lived experiences of the anxiety and social isolation of chronic lung disease, and thereby to explore their being ‘all in the same boat’ musically, culturally and existentially. When considered within the context of similar singing-based and writing-based research, this study suggests that participatory and collaborative songwriting projects might confer psychosocial benefits to a group and to its members. While further research is needed, we propose that singing groups aiming to improve health should include songwriting.

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Blom, Diana, and Kim Poole. "Presage: What Knowledge and Experience Higher Education Songwriting Students Bring to the Classroom." IASPM Journal 5, no. 1 (January 29, 2015): 157–80. http://dx.doi.org/10.5429/ij.v5i1.705.

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This study analyses the responses of seventy-six students from three Australian higher education institutions in New South Wales entering the songwriting classroom for the first time. While it was assumed that most students had previously composed songs, their views on, and experience with, a range of issues relevant to songwriting itself were unknown. Through a questionnaire seeking responses about student songwriting experience and process, lives in relation to lyrics, inspiration and compulsiveness, notation theory and craft, songwriting order and sense of completion, and notions of “audience” and “market”, findings about the songwriting skills and knowledge students bring to the classroom in the presage stage are discussed. This is then related to a model of previously acquired skills.

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Silverman, Michael J. "Effects of group-based educational songwriting on craving in patients on a detoxification unit: A cluster-randomized effectiveness study." Psychology of Music 47, no. 2 (December 14, 2017): 241–54. http://dx.doi.org/10.1177/0305735617743103.

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Psychosocial methods for reducing craving are essential for people with substance use disorders. Although songwriting is a commonly-used music therapy intervention for people with addictions, there is no randomized controlled music therapy study systematically investigating how songwriting impacts craving in patients on a detoxification unit. The purpose of this cluster-randomized effectiveness study was to measure the effects of a single group-based educational songwriting intervention on craving with patients on a detoxification unit. To provide treatment to all participants in an inclusive single-session design, participants ( N = 129) were cluster-randomized to one of three conditions: educational songwriting targeting relapse prevention and recovery, recreational music therapy targeting social and affective gains, or wait-list control. There was a significant difference ( p = .033) in the craving subscale of expectancy between the educational songwriting and control conditions. Although no other difference reached significance, participants in the songwriting condition tended to have lower subscale and total craving mean scores than participants in the control and recreational music therapy conditions. Group-based educational songwriting interventions may temporarily relieve craving by distracting patients in an engaging, motivating, and creative intervention. Implications for clinical practice, suggestions for future research, and limitations are provided.

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Kerchner, Jody L. "Documentary songwriting in prison: ‘I am good ‘bout myself’." International Journal of Community Music 17, no. 2 (June 1, 2024): 233–48. http://dx.doi.org/10.1386/ijcm_00106_1.

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The purpose of this study was to investigate the nature of prison residents’ songwriting experiences while engaged in Documentary Songwriters (DocSong) collaborative songwriting pedagogy. The research implemented a qualitative, case study portraiture design inside a prison in which the experiences of an individual ‘story source’ and group were explored. Key themes originated from the observational, spoken, audio-recorded and sung data procured from a week-long DocSong workshop. The songwriting participants and facilitator created a community that transformed the prison space into an environment in which the residents experienced individual actualization and collective liberation and liberated and restorative music creativity. The songwriting community members shared personal narratives that were replete with emotion, while also demonstrating and supporting each other’s emotional vulnerability and resilience. The group collaboratively created songs from spoken word using the DocSong approach, forming a strong emotional bond throughout the songwriting process. The individuals’ interactions within the group suggested that confidence, patience and the willingness to share were also practised within the songwriting context.

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Yu, Penghua. "Li Jinhui’s Songwriting." Университетский научный журнал, no. 60 (2021): 90–98. http://dx.doi.org/10.25807/pbh.22225064.2021.60.90.98.

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Maltzahn, Ronja. "Teamwork in songwriting." FORUM+ 27, no. 3 (September 1, 2020): 38–41. http://dx.doi.org/10.5117/forum2020.3.006.malt.

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Abstract In this article songwriter Ronja Maltzahn focuses on examples and experiences of co-creation as a method for multilingual songwriting and musical translation. She distinguishes between a hierarchical and non-hierarchical perspective – here referred to as an eye-to-eye-level. Maltzahn demonstrates how within the hierarchical framework, two roles can be adopted: a visionary or a reflectionist role. Each position and setting is analysed in terms of possibilities, advantages, challenges, and difficulties.

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Baker, Felicity, and Robert Krout. "Songwriting via Skype." British Journal of Music Therapy 23, no. 2 (December 2009): 3–14. http://dx.doi.org/10.1177/135945750902300202.

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Edgerton, C. D. "Creative Group Songwriting." Music Therapy Perspectives 8, no. 1 (January 1, 1990): 15–19. http://dx.doi.org/10.1093/mtp/8.1.15.

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Stewart, C. N. "Songwriting and science." Science 349, no. 6246 (July 23, 2015): 446. http://dx.doi.org/10.1126/science.349.6246.446.

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Whiting, Chris. "Valuing in Songwriting." IASPM Journal 13, no. 1 (July 28, 2023): 140–56. http://dx.doi.org/10.5429/2079-3871(2023)v13i1.8en.

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Valuing is a sub task of the creative process where the agent of creativity evaluates the possibles afforded to them by the domain and field. To make such evaluations the agent must apply their domain knowledge and an internalised system of the field . This paper explores how the songwriter, as agent, constructs a criterion of appropriateness based on such knowledge through which to assess their creative possibilities. These criteria conceived by the songwriter operates as a competent yet fallible audience. The valuing process is progressive, moving from the imagined audience of the songwriting agent to be refined by developmental interactions with songwriting, production and record label teams. We may also transfer such a criterion to the audience, as a criterion of effectiveness, in which the chosen ideas are evaluated.

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Baker, Felicity A., Neryl Jeanneret, and Anna Clarkson. "Contextual factors and wellbeing outcomes: Ethnographic analysis of an artist-led group songwriting program with young people." Psychology of Music 46, no. 2 (June 14, 2017): 266–80. http://dx.doi.org/10.1177/0305735617709520.

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Group-based therapeutic songwriting has been applied to enhance the wellbeing of young people. Artist-led songwriting experiences have potential to enhance wellbeing of young people but this has not yet been fully explored. Understanding how this activity impacts wellbeing can advance practice. This study offers a music therapy perspective on artist-led group songwriting, highlighting contextual factors that impacted wellbeing outcomes. A two-day artist-led songwriting program with 85 young people was observed. Video footage, ethnographic field notes and artefacts were thematically analysed and produced themes relating to contextual factors and wellbeing outcomes. Three overarching themes resulted: young people feel safe; young people have fun; young people push beyond boundaries. Contextual factors (sub-themes) included direct and honest feedback, high-energy rituals and emphasis on artistic excellence. Insights into circumstances permitting wellbeing outcomes for young people were obtained. Contextual factors helped shape the songwriting environment by promoting fun, safety and pushing boundaries. This environment enabled young people to engage in the program and benefit from its wellbeing-focused activities. Findings can inform music therapy and other professions using group songwriting with young people to foster wellbeing.

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West, Andrew. "Special issue on songwriting." Journal of Popular Music Education 3, no. 1 (April 1, 2019): 3–9. http://dx.doi.org/10.1386/jpme.3.1.3_2.

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Eickholt, Jasmin, Felicity A. Baker, and Imogen N. Clark. "Positive Psychology in Therapeutic Songwriting for People Living with Late-Life Depression—An Intervention Protocol." Brain Sciences 12, no. 5 (May 10, 2022): 626. http://dx.doi.org/10.3390/brainsci12050626.

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(1) Background: An increasing number of people are living with late-life depression, yet non-pharmacological treatments to help manage symptoms are limited. Two interventions, positive psychology and music therapeutic songwriting, have independently led to decreased depressive symptoms and an improved wellbeing in older people over 65 years old. (2) Methods: This article describes the development of a therapeutic songwriting program for people living with late-life depression. Knowledge from positive psychology and therapeutic songwriting was combined to maximize the potential benefits. (3) Results: The intervention program has ten weekly 45 min sessions that incorporate elements from positive psychology into therapeutic songwriting. Using a three-song approach encompassing ongoing musical practices, different positive psychology interventions were incorporated to support the experiences associated with a flourishing life. The intervention protocol for older people presented here is distinct from previous deficit-orientated approaches in that it shifts the focus to positive experiences, resources, and the individual’s ability to decrease their own depressive symptoms and improve their wellbeing. (4) Discussion: This protocol presenting a therapeutic songwriting program meets the need to develop new non-pharmacological treatment options. However, further studies are needed to examine the feasibility and impact of the intervention program on late-life depression and wellbeing in older people.

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Procházková, Martina. "Songs of Dominick Argento and Their Use for the Teaching of Voice at Faculties of Education." Paedagogia Musica, no. 4 (2023): 21–36. http://dx.doi.org/10.24132/zcu.musica.2023.04.21-36.

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The study will aim to characterize the songwriting of Dominick Argento (1927−2019), a leading American composer and Pulitzer Prize winner, and to outline the possibilities of its application in the education of solo singers in faculties of education. Argento’s songwriting is rich (he composed cycles for every voice except bass) but not well known and rarely performed in Europe. It may be due to the difficulty of some cycles and the fact that not all sheet music is readily available. Part of the study presents the musical compositions of Dominik Argento with a focus on songwriting, the characteristics of textual aspects of songs, and the composer’s approach to the musical treatment of song cycles. The second part of the study deals with using Dominik Argento’s songwriting in teaching voice at faculties of education. This section includes a short musical and interpretative analysis of selected songs and suggests specific compositions for voice study. The topic’s treatment benefits Central European vocal teachers and the professional public.

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Bell, Adam Patrick, and Christine Chen. "Bubble Tea pop: Christine makes Mandopop." Journal of Popular Music Education 3, no. 1 (April 1, 2019): 29–50. http://dx.doi.org/10.1386/jpme.3.1.29_1.

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The purpose of this case study was to examine Christine’s learning journey and music-making processes of songwriting in the Mandopop style over the course of a series of lessons. We begin this article by outlining our purpose and qualitative method, followed by a primer on Chinese popular music (C-pop). Next, we present a portrait of Christine to provide some context of her musical background, how she became interested in C-pop, and how she became interested in songwriting. We then proceed to describe Christine’s four-month songwriting journey with Adam as her instructor, and conclude by considering the implications of this case study for making Mandopop in music education.

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Flower, Imogen. "Collaborative songwriting as and for artistic activism." International Journal of Community Music 17, no. 2 (June 1, 2024): 219–32. http://dx.doi.org/10.1386/ijcm_00105_1.

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This article explores collaborative songwriting as a form of artistic activism – the creation, performance and/or distribution of art to advance social justice – and demonstrates its potential both in terms of the process of songwriting and the songs that result from it. In doing so, it compares two songwriting workshops facilitated as part of Sex Worker’s Opera (SWO), a grassroots musical theatre project by and for sex workers, drawing on participant observation, archival research and music elicitation interviews. In unpacking the contingent nature of this potential, it evaluates the practical significance of different intentions and material constraints, approaches to fostering ownership and solidarity, and the balance between structure and freedom in facilitating the workshops. Critically, the findings suggest that public engagement, alongside a commitment to community leadership, can help to harness the activist potential of the practice. Looking at how collaborative songwriting can function as and for artistic activism – through creative processes and cultural products – the article emphasizes the opportunity this practice offers for marginalized groups to reclaim cultural space and to challenge norms of silencing in both the cultural and political spheres.

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Gallo, Donna, and Emily Kuchenbrod. "“Can I Sing You My Song?” Songwriting in Elementary Music with Community Artist Mentors." Music Educators Journal 108, no. 3 (March 2022): 56–64. http://dx.doi.org/10.1177/00274321221085591.

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In this article, we situate songwriting in elementary spaces as a vehicle for personal and musical expression and informed by popular music practices. We offer insights for how educators can anchor students’ work by encouraging them to create songs for a specific purpose like shedding light on social issues relevant to their lives. This article also addresses how community songwriters might support the creative musicianship of elementary students and the ways in which they can offer unique mentorship to students when they share musical interests and lived experiences. We offer pedagogical ideas and considerations for engaging elementary students in songwriting, and we connect these ideas to a recent elementary school songwriting project in partnership with community artists.

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Baker, Felicity, Tony Wigram, David Stott, and Katrina McFerran. "Therapeutic Songwriting in Music Therapy." Nordic Journal of Music Therapy 17, no. 2 (July 2008): 105–23. http://dx.doi.org/10.1080/08098130809478203.

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Freed, B. S. "Songwriting with the Chemically Dependent." Music Therapy Perspectives 4, no. 1 (January 1, 1987): 13–18. http://dx.doi.org/10.1093/mtp/4.1.13.

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Baker, Felicity A., and Sarah Yeates. "Carers’ experiences of group therapeutic songwriting: An interpretive phenomenological analysis." British Journal of Music Therapy 32, no. 1 (September 4, 2017): 8–17. http://dx.doi.org/10.1177/1359457517728914.

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Supporting carers of people living with dementia to live happy and healthy lives is of international importance. This study aimed to explore carers’ experiences of participating in a creative group songwriting process. Four carers (2 male and 2 female) of people living with dementia participated in four therapeutic group songwriting sessions. Facilitated by two music therapists and support staff, the participants co-created a song that reflected their carer experiences allowing positive and negative perspectives to be represented in the song. Interpretative phenomenological analysis was used to analyse interviews with the four carers at the end of the programme. A cross-case analysis was performed to identify recurring themes and subthemes. Findings highlight that carers’ experience of the programme went beyond their expectations. They found the collaborative component of co-creating songs was meaningful, and subsequently, the song held meaning for the group. Carers experienced the songwriting process as empowering, having a voice that was heard by genuinely attentive listeners and that they learned about themselves, each other, and the carer journey through the process. This study provides preliminary indications that group songwriting in carer programmes is a worthwhile experience, but further research is needed to understand its impact on wellbeing.

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Pastor, Elisa, and Bob Heath. "A Case Study on Songwriting in Music Therapy." Studia Universitatis Babeş-Bolyai Musica 67, no. 1 (June 30, 2022): 37–48. http://dx.doi.org/10.24193/subbmusica.2022.1.03.

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"This case study presents the process of music therapy sessions in three instances of one-to-one client sessions and one online group session. Mr. Bob Heath, a music therapist with over 20 years’ experience, musician, songwriter, and singer, supervised these sessions, providing feedback and clinical support alongside Dr. Lois Paula Văduva, a recent music therapy graduates from The University of The West of England and reader at Emanuel University of Oradea, Romania. This research also illustrates the challenges of every session and the importance of practicing songwriting in a music therapy session. In addition, this case study highlights three techniques used during the study period: client-led lyric and songwriting, improvisation, and song narratives in a music therapy session. Lastly, the therapist’s reflections are presented to complete the overview of the work. Keywords: music therapy, songwriting, singing, music therapy session, client "

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Smith, Gareth Dylan. "Stephen Wheel on songwriting: An interview." Journal of Popular Music Education 3, no. 1 (April 1, 2019): 141–50. http://dx.doi.org/10.1386/jpme.3.1.141_7.

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In this interview, Welsh guitarist, composer, producer and songwriter, Stephen Wheel discusses his reasons for writing songs, his approach to songwriting and his compulsion to make music. He talks about occupying the intersecting roles of producer, writer, engineer and performer, and the integrity of performances to a completed song. He writes for himself, being instigator and arbiter of the creative process. He describes how some songs are easier to finish than others, as he strives to complete each song on its terms. Melodies and lyrics have often been the most elusive elements of songwriting for Wheel, but he explains how the various components of song creation emerge and converge with particular songs and different projects. Wheel works with the larger canvas of the album, conceptualizing the songwriting process as both driving and serving successive album concepts.

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Krout, Robert E. "Therapeutic Songwriting: Developments in Theory, Methods, and Practice by Felicity A. Baker." Music and Medicine 7, no. 4 (October 31, 2015): 76. http://dx.doi.org/10.47513/mmd.v7i4.432.

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Summary: Over the past ten years songwriting has emerged as a popular method for many clinicians working 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. 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. The role of music and music technology is highlighted as an important component of the therapy process. 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.

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Marin, Marisa V. "Exploring Therapeutic Songwriting for Filipino Children with Leukemia." Music and Medicine 6, no. 1 (June 22, 2014): 17. http://dx.doi.org/10.47513/mmd.v6i1.148.

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This study explored the use of songwriting as a therapeutic tool for Filipino children with leukemia to alleviate pain and to accept death. Using a clinical-descriptive phenomenological approach, four children with leukemia were purposively selected to have individual therapy sessions. Findings show that music making, specifically songwriting, can be a therapeutic intervention for children in pain and in preparation for their death. Furthermore, common themes of the songs are discussed and the role of a therapist is mentioned.

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Baker, Felicity A., Jeanette Tamplin, Nikki Rickard, Jennie Ponsford, Peter W. New, and Young-Eun C. Lee. "A therapeutic songwriting intervention to promote reconstruction of self-concept and enhance well-being following brain or spinal cord injury: pilot randomized controlled trial." Clinical Rehabilitation 33, no. 6 (February 22, 2019): 1045–55. http://dx.doi.org/10.1177/0269215519831417.

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Objective: To determine the size of the effects and feasibility (recruitment and retention rates) of a therapeutic songwriting protocol for in-patients and community-dwelling people with acquired brain injury or spinal cord injury. Design: Randomized controlled trial with songwriting intervention and care-as-usual control groups, in a mixed measures design assessed at three time points. Participants: A total of 47 participants (3 in-patients with acquired brain injury, 20 community participants with acquired brain injury, 12 in-patients with spinal cord injury, and 12 community participants with spinal cord injury: 23 1208 days post injury). Interventions: The intervention group received a 12-session identity-targeted songwriting programme, where participants created three songs reflecting on perceptions of past, present, and future self. Control participants received care as usual. Measures: Baseline, postintervention, and follow-up measures comprised the Head Injury Semantic Differential Scale (primary outcome measure), Patient Health Questionnaire-9, Emotion Regulation Questionnaire, and Satisfaction with Life Scale. Results: No significant between group pre–post intervention differences were found on the primary self-concept measure, the Head Injury Semantic Differential Scale ( p = 0.38, d = 0.44). Significant and large effect sizes from baseline to post between groups in favour of the songwriting group for Satisfaction with Life ( p = 0.04, n2 p = 0.14). There were no significant between group pre-post interaction effects for the Emotion Regulation Suppression subscale ( p = 0.12, n2 p = –0.08) although scores decreased in the songwriting group over time while increasing for the standard care group. There were no significant differences in baseline to follow-up between groups in any other outcome measures. Recruitment was challenging due to the small number of people eligible to participate combined with poor uptake by eligible participants, particularly the in-patient group. Retention rates were higher for the community-dwelling cohorts. Conclusion: This study demonstrates the challenges in recruitment and retention of participants invited to participate in a music therapy study. Findings suggest this identity-focused therapeutic songwriting protocols may be more beneficial for people who have transitioned from in-patient to community-contexts given the greater proportion of participants who consent and complete the intervention. Preliminary effects in favour of the intervention group were detected in a range of well-being measures suggesting that a larger study is warranted.

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Clauhs, Matthew. "Songwriting with Iconic Notation in a Music Technology Classroom." Music Educators Journal 107, no. 3 (March 2021): 22–30. http://dx.doi.org/10.1177/0027432121992410.

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Recognizing that music teachers may struggle to implement songwriting activities in a classroom, and that iconic notation provides an opportunity to increase access to school music for all students, the purpose of this article is to share one model of songwriting activities in a music technology class using chord diagrams, beat grids, and keyboard charts. The article outlines specific steps to the creation of drum grooves, simple chord progressions, bass lines, and melodies, using forms of notation that are appropriate for popular music instruments and styles.

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Petchauer, Emery, Tia Harvey, and Rolando Ybarra. "Sonic play: on the B-side of literacy and songwriting." English Teaching: Practice & Critique 22, no. 4 (November 22, 2023): 462–81. http://dx.doi.org/10.1108/etpc-08-2023-0091.

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Purpose This paper aims to explore sonic play in close proximity to a music, literacy and songwriting for social change community-based initiative. The authors leverage ideas about time, space and narrative under the concept of sonic flux to understand youth’s sonic and aural play on digital beatmaking technologies. In doing so, the authors break from a fixation on the written and spoken word and address sound, aurality and Blacktronika creative technologies that are often present but muted in literacies and songwriting scholarship. Design/methodology/approach The authors’ team consisted of three community-based teaching artists who situated this inquiry around their own practice with youth. The authors conducted this inquiry through a qualitative, participatory and community-engaged research approach. As such, the authors codeveloped and carried out research questions and sense-making protocols that balance the power of interpretation and epistemologies among us. Findings The findings address how the joy, laughter and play of one young musician, Malik, moved across different conceptions of time while learning to make beats in proximity to peers writing lyrics for songs. Specifically, the authors unpack how Malik’s play with mobile sound-making technologies moved across linear and nonlinear time that characterize sonic space and sound art, not music and lyric writing. In doing so, the loops and durations of his sonic play were sometimes unbound by narrative structures that often code literacy and songwriting initiatives. Originality/value The authors’ inquiry speaks into literacy and songwriting initiatives that privilege spoken, written and performed word over sound. The authors ask what kind of participating structures, collaborations, ontologies and youth epistemologies open up if we think of youth in these spaces not only as performers but as programmers tinkering with time in the machine. In addition, the authors ask what literacy and songwriting spaces might look like when the duration, loops and drones of sonic space and not music are the structuring codes over narratives and linearity.

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Reali, Christopher. "“Guided by Commercial Motives”: Selling Songwriting." Journal of the Music and Entertainment Industry Educators Association 18, no. 1 (2018): 13–35. http://dx.doi.org/10.25101/18.1.

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Medňanský, Karol. "Songwriting and Chorale by Martin Luther." Review of Artistic Education 17, no. 1 (March 1, 2019): 22–31. http://dx.doi.org/10.2478/rae-2019-0002.

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Abstract The five hundreth anniversary that we commemorated in 2017 is a good opportunity to remind the significance of vocal works by Martin Luther. Creative musical activity of Dr. Martin Luther is somehow in the shadow of his other historically significant activities. It is a well-known fact that he was an outstanding musician who could play lute and could sing. In his household, he constantly played music and sang, while he actively engaged his family in performing music. In performing the reformatory ideas, he was aware of the extremely important role of religious singing, which he started composing since 1523. He is the author of 38 songs – chorales, while at the same time, he is the author of 20 melodies. In most cases, he used the texts of the Psalms. From his chorals the best known is entitled Ein feste Burg is unser Gott – The Fortified Castle is the Lord our God, that became worldwide the anthem of the Protestants. Luther have become an important inspirational source for the next generation of composers, and they culminated in the work of Johann Sebastian Bach, including the works of contemporary Slovak composers – Roman Berger, Víťazoslav Kubička. The prevailing majority of Lutheran chorales is also the part of the Protestant Songbook in Slovakia.

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Baker, Felicity, Sheri Robb, Amy Clement-Cortes, Michael Silverman, Viggo Krüger, Helen Short, and Kathleen Murphy. "Songwriting: research, theory, methods, and practice." Nordic Journal of Music Therapy 25, sup1 (May 30, 2016): 86. http://dx.doi.org/10.1080/08098131.2016.1180077.

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Volpini, Andrea. "“Compose oneself for compose”: songwriting workshop." Nordic Journal of Music Therapy 25, sup1 (May 30, 2016): 113–14. http://dx.doi.org/10.1080/08098131.2016.1180131.

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Rieger, Gerd. "Songwriting und Inklusion - Musiktherapie mit Axel." Musiktherapeutische Umschau 29, no. 1 (March 2008): 54–62. http://dx.doi.org/10.13109/muum.2008.29.1.54.

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Heaven, Douglas. "Songwriting machine churns out Beatles hits." New Scientist 241, no. 3214 (January 2019): 16. http://dx.doi.org/10.1016/s0262-4079(19)30150-2.

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Baker, Felicity Anne, Raymond Afredo Rossi MacDonald, and Mark Clement Pollard. "Reliability and validity of the Meaningfulness of Songwriting Scale with university students taking a popular songwriting class." Arts & Health 10, no. 1 (September 30, 2016): 17–28. http://dx.doi.org/10.1080/17533015.2016.1236281.

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Hartmann, Esa Christine. "Multilingual, Multimodal, and Multivocal Creative Songwriting based on Tomi Ungerer’s Picturebooksve Songwriting based on Tomi Ungerer’s Picturebooks." Journal of Literary Education, no. 6 (December 31, 2022): 5. http://dx.doi.org/10.7203/jle.6.24506.

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Abstract: As creative writing research has shown, literary education in the context of teacher education at university greatly benefits from the collaborative practice of creative forms of literary expression for the development of creative literacies and imaginative agency. Accordingly, this study analyses the creative processes and outcomes of a bilingual songwriting workshop that was carried out in 2022 at the University of Strasbourg with 18 bilingual student teachers, in collaboration with the Franco-German world hip-hop artists Zweierpasch. This creative action research was guided by the following research questions: What are the pedagogical affordances of translingual creative writing for the acquisition of multiliteracies in bilingual education? What are the impacts of this creative writing workshop on the bilingual student teachers’ attitudes and beliefs towards creative pedagogical approaches in bilingual education? What are the effects of this workshop on the development of their linguistic, cultural, and professional identities? This study presents a literary analysis of the poetic outcome of this creative action research, as well as an evaluation of the workshop in the form of a qualitative content analysis of the student teachers’ reflections and perspectives. Overall, the student teachers considered creative writing as a valuable pedagogical approach for multimodal literacy teaching and learning in bilingual education. Their discourses reveal the transformation process of their attitudes and beliefs towards creative pedagogical approaches, and the enrichment of their linguistic and cultural identity through multilingual creative writing. Keywords: Creative writing; multilingual writing; multiliteracies; creative literacies; Tomi Ungerer.

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Rendeiro, Margarida. "Revolutions negotiated in Portuguese songwriting and performance." Portuguese Journal of Social Science 17, no. 3 (September 1, 2018): 273–88. http://dx.doi.org/10.1386/pjss.17.3.273_1.

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Reinhert, Kat. "Lyric approaches to songwriting in the classroom." Journal of Popular Music Education 3, no. 1 (April 1, 2019): 129–39. http://dx.doi.org/10.1386/jpme.3.1.129_1.

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Stuart, Chapman Hill. "The Art of Songwriting, Andrew West (2016)." Journal of Popular Music Education 3, no. 1 (April 1, 2019): 151–54. http://dx.doi.org/10.1386/jpme.3.1.151_5.

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The author reviews The Art of Songwriting, written by veteran songwriter Andrew West, who oversees a postgraduate course at Leeds College of Music. The book benefits greatly from the author’s encyclopaedic knowledge of songs and songwriters, and a rich variety of examples permeates the book. As a result, the book is not a simple ‘how-to’ volume, but rather captures the rich diversity of approaches and techniques professional songwriters employ. A different, tighter organizational scheme might help the book’s wisdom be digestible for the reader to consolidate and retain all the knowledge the book has to offer. Still, the book is a welcome contribution to an understudied field, especially as music education scholars seek to diversify the musics that define school music teaching and learning.

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Long, Paul, and Simon Barber. "Voicing passion: The emotional economy of songwriting." European Journal of Cultural Studies 18, no. 2 (December 30, 2014): 142–57. http://dx.doi.org/10.1177/1367549414563298.

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López Ramos, Martha María, Gilles Aniorte Tomassian, and Mario López. "Songwriting: a Means to Prevent Gender Violence." Tautosakos darbai 59 (June 2, 2020): 296–305. http://dx.doi.org/10.51554/td.2020.28380.

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Ubaldi, Patrizia. "Francesco Guccini: identity and diversity in songwriting." Quaestiones Romanicae X, no. 2 (June 9, 2023): 361–74. http://dx.doi.org/10.35923/qr.10.02.29.

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Hill, Stuart Chapman. "“Give me actual music stuff!”: The nature of feedback in a collegiate songwriting class." Research Studies in Music Education 41, no. 2 (March 27, 2019): 135–53. http://dx.doi.org/10.1177/1321103x19826385.

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This study aimed to understand the nature of feedback that students and teacher exchanged in a workshop-based collegiate songwriting course. Two research questions guided the study: (1) What kinds of feedback do students and teacher give as they respond to each other’s work? and (2) What factors contribute to the culture of feedback in this class? Data sources included field notes from class observations, individual interviews with four informant students, a group interview, and a student-conducted interview of the investigator, who was also the instructor of the class. The analysis generated four themes that describe the feedback culture of this songwriting class: micro feedback, macro feedback, feedback roles, and overall feedback culture. Recommendations for practice and future research are presented.

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de Araújo, Andressa Raiana Nunes, and Guilherme Bertissolo. "Música e psicanálise: uma abordagem para os processos criativos e suas dimensões inconscientes." Percepta - Revista de Cognição Musical XI, no. 1 (December 30, 2023): 39–56. http://dx.doi.org/10.34018/2318-891x.11(1)39-56.

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This paper presents an approach for songwriting from a Lacanian psychoanalysis’ perspec-tive based on an ongoing master's degree research. The departure point is related the rele-vance of the unconscious processes already highlighted in musical cognition research. The research establishes a conversation between these two fields – psychoanalysis and cognition – to, subsequently, address methods and theories that enable a deeper understanding of the different relevant issues on creative process in songwriting. Introducing a brief literature re-view and proposing the use of methods such as memorial and genetic criticism. Finally, we present the initial steps towards a methodology for approaching the creative process in music with psychoanalytic orientation, based on the analysis of drafts and personal reports in free association.

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Journal articles on the topic 'Songwriting'

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