Abstract
The aim of this paper is to show how Prince Rogers Nelson’s lewd onstage antics and perverse song lyrics were not the only factors that contributed to his sexually charged compositions. By examining the use of anthropomorphism (the ascription of human characteristics to what is not human), in the analysis of several of Prince’s early works between the years 1980 and 1984, the researcher makes the argument that his musical arrangements taken from this earlier musical cannon embody the stages of Masters and Johnson’s human sexual response cycle. Ultimately, the researcher views Prince’s musical arrangements and improvisations to be metaphors for his own genitalia having intercourse with his public.
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