Abstract
This article discusses the compositional processes of popular songwriting, taking into account interactions between melody and lyrics as well other developments in musical craft after the 1960s. As an argumentative strategy, the article proposes a division of the 20th century into periods and categories according to the respective weight taken on by lyrics and music as they interact. In the conclusion, the article makes use of references from Octavio Paz to explore the similarities and differences between written poetry and music and suggests paths for further musicological analyses of this multidisciplinary object of study
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