Analysis Of Lyrics Research Articles

Comparing Music Therapy Interventions in Adults with Substance Use Disorder on a Detoxification Unit as Measured by the Group Relationship: A Three-Group Cluster-Randomized Study

ABSTRACT Social connectedness and related relational constructs can facilitate recovery in adults with substance use disorder (SUD). To date, there is a lack of research differentiating music therapy interventions as measured by the group relationship among peers within an inpatient detoxification setting for adults with SUD. The purpose of this study was to compare three commonly used group music therapy interventions in adults with SUD by measuring the group relationship Participants (N = 103) were adults with SUD hospitalized on an inpatient detoxification unit. The researcher cluster-randomized participants to one of three single-session group music therapy conditions: lyric analysis (LA), recreational music therapy (RMT), or songwriting (SW). Participants completed pre- and posttest measures of the group relationship. All conditions had favorable mean group relationship changes from pre- to posttest. There were significant between-group differences in the positive bonding relationship and positive working relationship subscales between the SW and RMT conditions. There was a significant between-group difference in the negative relationship scale between the RMT and both the LA and SW conditions. Despite the temporal limitations of single-session therapy common on detoxification units, this study has clinical implications because of the relevance of social connectedness and group relationships among adults with SUD. As the SW condition outperformed the RMT condition in all three group relationship subscales and has support regarding other SUD-related constructs, SW may constitute an ideal intervention in adult detoxification settings. Implications, limitations, and suggestions for future research are provided.

A Music Based Intervention: “Stay with Me” Results Reveal Challenges and Opportunities related to Burden in Family Caregivers of People with ADRD

AbstractBackgroundFamily caregivers of home‐based people with ADRD took part in a 6‐week psychoeducational music‐based intervention, facilitated by a board‐certified music therapist. Caregivers identified care recipients’ strengths and needs related to symptoms of ADRD. In the following weeks, caregivers learned how to incorporate music‐based activities during their care. This included caregiver singing, adding background music to bath/shower routines, creating personalized playlists, the use of music for sundowning, etc. A concurrent, mixed methods approach was employed. The Short Zarit Burden Interview (12 item) was completed at baseline and follow‐up. During week 6, in small groups ranging from 2 – 6 persons, family caregivers (n = 20) rewrote the lyrics of Stand by Me, using a fill‐in‐the‐blank template.MethodA content analysis of rewritten lyrics revealed a focus on themes. A paired samples t‐test was performed to determine changes in burden. To merge the lyrics and burden scores, a joint display analysis was performed. A box plot of mild to high burden was created to demonstrate how the post‐test scores were distributed across levels of burden accompanied by a descriptive display of the most dominant lyrics that reflected each level.ResultFollowing the music‐based intervention, a paired samples t‐test found that caregiver burden reduced significantly from baseline (from M = 20.73 ± 6.72 to M = 16.1 ± 4.89; p = .000) indicating that caregiver participation in the 6‐week workshop contributed to perceived reduced burden. Post‐tests and box plot showed most caregivers (80%) scored with mild to moderate burden following the study. The results from content analysis of the lyrics described caregivers’ desire to persevere without fear, issues of falling or failing (a replica of the progression of ADRD) but indicate a desire to stay with the person for whom they are caring.ConclusionBurden decreased following participation in the psychoeducational, music‐based intervention. Nevertheless, caregivers cope with a range of emotions related to caring for a person with ADRD, revealing the facilitation of music‐based interventions at home is a useful tool for caregivers but also a need for continuous support. The study is ongoing.

SCHIZOPHRENIA AND ITS REPRESENTATIONS IN BRAZILIAN MUSIC

This article proposes to investigate the meanings of madness and the crazy person in five songs that address the theme: Balada do Louco, Maluco Beleza, Hino dos Malucos, Bicho de sete cabezas and Sufoco da vida. The objective is to compare the literary discourses about the crazy and madness with the guidelines in the World Health Organization Report: Mental Health: new conception, new hope of 2001. The analysis of song lyrics allowed the association with the approach of different authors and with the report from the World Health Organization. The songs discuss important problems such as violence in asylum institutions, social medicalization and prejudice. The lyrics also refer to the issue of the patient’s capabilities and establish a fine line between madness and normality. More than corroborating with the perspectives of mental health, through this analysis it is believed that music can be a supporting agent in the process of social awareness as recommended by the World Health Organization. It is noteworthy that this discussion goes beyond the field of mental health also covering the field of culture, debating how society relates to the experience of madness and discussing its implications.

Tuberculosis, AIDS and opera: An analytical and lyrical analysis on languid beauty

Tuberculosis, AIDS and opera: An analytical and lyrical analysis on languid beauty

미국 대중음악에 나타난 흑인 민권 운동 요소에 관한 고찰

The purpose of this study is to examine the elements of the black civil rights movement in American popular music in the 1960s. Therefore, in order to help understand popular music and the black civil rights movement, the overall flow was examined, and the form of the black civil rights movement observed through this was observed through social background and lyrics analysis. The elements of the black civil rights movement in popular music were identified as four elements: abolition of racism and equality, demand for institutional change, identity and decision-making, cooperation and solidarity, and these elements are provided as basic data to prove the characteristics of popular music used as a means of the times and civic consciousness.

10.1 Representations of Korean Fathers in Media: An Analysis of Contemporary Song Lyrics

10.1 Representations of Korean Fathers in Media: An Analysis of Contemporary Song Lyrics

Discourse Analysis of Father’s Grassland Mother’s River Based on Register Theory

Based on the framework of register theory, this paper uses the song Father’s Grassland Mother’s River which is collected from the website of wedding poetry as the analysis material. Different linguistic theories to analyze discourses can reveal the linguistic approaches used by the speaker for the realization of speaking intention from the different perspectives. The purpose of this paper is to explore the merits of register theory in the discourse analysis of lyrics and to verify the applicability of register theory in the analysis of lyrics. Though literature research method, quantitative analysis and qualitative analysis, this paper focuses on the register of lyric, including field, tenor, and mode, studying three meta-functions and its meanings of systemic functional linguistics which refers to the field and discussion of ideational function; the tenor and discussion of interpersonal function and the mode and discussion of textual function. The study shows the nationality and musicality of the song, and elucidates the reason for its widely spread among the public. The results of analysis prove that: i) the transitivity, logical relationship and the modal system are all influenced by the vocabularies used in the lyrics; ii) the two kinds of tenor in lyrics reflect the interpersonal relationship; iii) comprehensive analysis of the thematic structure, the information structure and the rhyme and other stylistic characteristics reflects the uniqueness of the lyrics from other types of discourse

THE PHILOSOPHY OF LOVE IN THE LYRICS OF M. BOGDANOVICH AND V. BRYUSOV

THE PHILOSOPHY OF LOVE IN THE LYRICS OF M. BOGDANOVICH AND V. BRYUSOV

The First Time I Heard: Black Feminist Approaches to Hip Hop Methodologies

Pulse and rhythm are found in our heartbeats, our breaths, and our physical movements. Pitch and tone give our voices distinct expressive and communicative qualities that serve as articulations of our relationship to space and time. Sound constantly surrounds us, embeds us, and embraces us. Yet, in the academy, conversations on Hip Hop as a field of study tend to focus almost exclusively on lyrical analyses. We do not have to completely abandon this mode of engagement, but we seem to forget that Hip Hop is not simply about empirics or measurement. And so, this paper seeks to re-think, re-consider, and re-articulate how we theorize Hip Hop—its politics, its culture, and its ways of being—by attending to the vibrations in the air, nonlexical expressions, and the practices of looking and listening. Drawing from Black feminist studies as well as the methods of ethnography, autobiography, and social and oral history, I discuss the interiority of sound, the contexts of reception, and the sets of relations that exist between sonic phenomena. I argue that these creative approaches not only compel us to ask better questions about cultural moments but are foundational to understanding that Hip Hop is not just rap music; it is a practice, process, and lived experience.

الموسيقا البديلة األردنية بوصفها ممارسة اجتماعية: دراسة تحليلية لألفعال اللغوية المستخدمة في موسيقا أغاني األردني يزن الصرايرة

Indie music, one type of rock music, started to flourish since the mid-80’s mainly in western countries. Not so many studies have been conducted to linguistically examine the discourse of indie music. In this paper, I am investigating Jordanian indie music from a sociolinguistic perspective shedding light on the speech acts, mainly imperatives, utilized in this genre. The study goes beyond textual analysis to view indie music as a social practice, hence drawing on Fairclough (1989,1992). Lyrical analysis of 7 songs composed by the Jordanian indie musician, Yazan Al-Sarayrah, revealed that the repetitive use of the imperative form in these lyrics goes in line with the broad concept of indie music in which musicians and listeners alike seek to be deemed different. Use of imperatives in the data analyzed is said to carry the function of advising listeners, mostly of young Jordanians, to rebel against traditions and liberate themselves from the prevailing culture. In light of this, Jordanian indie music could be seen as a social practice affected by society.

Exploring folk songs to educate for resilience

PurposeCovid-19 pandemic, war, climate emergency and other recent challenges are inflicting tremendous stress to youth. However, death and tragedy are nowadays considered taboo, as there is generally no standardized nor naturalized discussion on the subject, especially with young people. The current multi-crisis scenario is intensifying the need to incorporate an education on tragedy and resilience in our learning systems. In this context, it is necessary to find suitable teaching resources for this educational challenge that are attractive, entertaining and suitable for children and youth. A resource that meets all these requirements are children’s folk songs (CFSs). Apart from the intrinsic educational potential of music, folk songs have a simplicity and musicality that make them an ideal teaching resource. Considering their oral historical transmission, their survival confirms the attraction that this type of composition causes on children. However, to consider CFSs as an adequate resource to carry out an education for death and tragedy, it is necessary to study whether they present a non-negligible proportion of tragic passages and with enough variety of themes. This paper aims to address the study of the presence of explicit tragic content in Spanish CFSs and thus could be considered a cultural resource with transformative educational potential to develop resilience capabilities on the face of tragedy.Design/methodology/approachAn analysis of lyrics of 2,558 Spanish CFSs is presented, using a manual content analysis as well as a computerized content analysis with the aim of identifying the tragic component of these songs and, thereby, assessing their pedagogical potential as a transformative educational resource.FindingsThe results obtained show a considerable presence of death and tragedy (19.78%) and a variety of tragedy dimensions. CFSs have been transmitted orally not only as a ludic resource, but also to prepare children for life (and death). The results show the complementarity of both analyses to avoid subjectivity while considering the underlying meanings of the songs.Originality/valueThis task had previously not been approached in an automated manner in the literature, nor there had been a similar study with a sample of this magnitude. The outcomes obtained show the considerable presence of tragedy in Spanish CFSs and emphasize the interest of this currently undervalued didactic resource.

“I Wanna Be That Cool”

This article elaborates recent work on a strain of contemporary indie rock by focusing on a case study of one of its chief practitioners, Soccer Mommy. This particular approach—which I refer to with the term “Big Feelings”—produces various feminist affects that are irreducible to any one parameter, but which emerge through a cohesive synthesis of several characteristics. That is, listeners feel this music’s feminist orientations even in the absence of overt references. Primarily performed by Gen-Z musicians, the Big Feelings that these artists articulate must also be read in the context of the successive socio-political crises that are not literally referenced in the music, but which nevertheless inform it. Lyrical analysis of the 2018 single “Cool” shows how Soccer Mommy resonates with but also departs from riot grrrl models, where queer-feminist politics are implied by never stated outright. Harmonic analysis of the same song exemplifies the ways in which Big Feelings expands the sonic palette beyond the two and three note chords typical of masculinized rock music, instead incorporating extensions that track with Susan McClary’s arguments regarding the feminized semiotics of chromaticism. Finally, I read 2020’s “Circle the Drain” alongside excerpted interviews I have conducted with fans of the music, using their words to help corroborate and elaborate my reading of Big Feelings as an orientation that is made meaningful in part because of the traumatic context in which young musicians and fans, permanently in crisis, create spaces of community, catharsis, and care.

Lyrical Trends: An Analysis of Music's (Mis) Use of Vertigo.

Popular culture and music have long served as windows into the common attitudes, trends, and issues of the time. The representation of vertigo in music has not been previously explored. The objective of this study was to analyze the portrayal of vertigo in music through content and sentiment analysis of song lyrics. A large song lyric database was queried to identify English language song titles containing the word "vertigo." A sentiment and content analysis of the lyrics was performed to delineate the most frequently used words, the accuracy of vertigo depictions, and emotional valence (i.e., the ratio of positive to negative references to vertigo). Between 1969 and 2022, there were a total of 54 songs specifically titled "Vertigo." Most songs (73%) portrayed vertigo negatively, and the prevalence of negative sentiment within music increased with each decade. The three most common words being used in association with vertigo within music were "feel" (n = 97), "love" (n = 66), and "falling" (n = 57). In early decades, songs using the word vertigo misrepresented the condition and associated perceptions relative to common medical understanding. In more recent decades, vertigo was used in a way more representative of medical interpretations. The depiction of vertigo in songs has changed over time, and more recently, usage has reflected Bárány Society definitions. Interestingly, the negative sentiment has also increased with time. This work provides a lyrical analysis of vertigo that may improve physician understanding of the cultural usage of this challenging symptom.

English and German pop song lyrics: Towards a contrastive textology

The present contribution offers a contrastive corpus-based analysis of English and German pop lyrics. It conceptualizes lyrics as a specific text type/register and tries to identify cross-linguistic commonalities and differences. As empirical base, it uses corpora that represent the lyrics of commercially highly successful pop songs in Anglophone and German contexts. Given the similar sociocultural functions and production circumstances of English and German lyrics, the study starts from the assumption that a large-scale linguistic overlap can be traced. While indeed cross-linguistic convergence is found especially for lexical patterns in terms of topic choice, the analysis also reveals a common property of conveying a conversational feel through lexicogrammatical means. However, given the differing typological make-up of the languages contrasted, fine-grained differences emerge as regards the ways conversationality/informality is established in pop lyrics as a performed text type.

Reclaiming Cueca: The Brava Tradition and Imagined Identities Among Santiago’s Cuequeros / Re-significando la Cueca: la tradición brava e identidades imaginadas entre cuequeros de Santiago

En Chile, durante los 1970, la dictadura militar de Pinochet cooptó la cueca Campesina como símbolo nacional, lo que culminó en 1979 al ser declarada oficialmente como la música y danza nacional. En paralelo a ello, se intentó borrar su contraparte folclórica urbana: la cueca brava. La cueca brava permaneció en gran medida oculta de la vida pública chilena durante la represión cultural que acompañó al régimen de Pinochet entre 1973 y 1990. A pesar de lo anterior, hoy en día observamos un resurgimiento de la cueca brava, el cual está asociado al regreso a la democracia en Chile en la década de 1990. Utilizando una visión informada por la geografía y el sentido de lugar, examinamos el resurgimiento de la cueca brava en Santiago con la finalidad de comprender cómo las tradiciones musicales del pasado ofrecen sustento para la construcción de identidades chilenas contemporáneas. Para ello intentamos caracterizar el movimiento de cueca brava actual empleando observación participante, análisis lírico y entrevistas semiestructuradas aplicadas a cuequeros en Santiago de Chile. Desde un punto de vista teórico, nuestro trabajo está basado en el concepto de comunidades imaginadas de Benedict Anderson, la teoría de la identidad (social) y la noción de memoria cultural de Jan Assmann. Luego de examinar cómo los cuequeros interactúan con la memoria, la historia, y el lugar, proponemos que las construcciones socio-espaciales del resurgimiento contemporáneo de la cueca brava generan nuevas identidades individuales y colectivas fortalecidas por una relación dialógica entre el pasado y el presente.

“This Is No Performance”: Exploring the Complicated Relationship between the Church and Contemporary Congregational Songs

“Performing” and “performance” are potentially contentious words within the context of contemporary Christian worship. However, performative elements are explicit in the lyrics of contemporary congregational songs (CCS), and in video recordings of CCS, through the actions of those on stage and in the congregation, as well as in the broader context of staging, lighting, projection, production, and video editing. However, to date, there is only a handful of scholarly works that explore performing in contemporary worship or contemporary worship as performance and most of them are ethnomusicological. This paper seeks to address notions of performing and performance through a broader lens of the most-sung CCS globally, examined through the disciplinary fields of performance studies, musicology, media studies and theology. It involves a two-fold complementary textual analysis of the most-sung CCS lyrics and the most-watched ‘live worship’ videos of those songs on YouTube. In so doing, this study identifies how the Christian music industry at large officially portrays and languages performance in worship songs and also identifies how performative elements are enacted in the live worship videos released. These analyses are finally synthesized to identify how performing and performance are understood and actively portrayed to and by the contemporary church.

“Out in the Streets”

Abstract This article provides a socio-anthropological portrayal of the hip-hop narrational mosaics in Greece through the intertemporal exploration of two hip-hop scenes: the rap scene and the hip-hop dance scene. It explores the gray and contested zones of a local hip-hop culture—which reflect on global hip-hop imageries, norms, and antinomies–through permutations and manifestations of difference, hybridization and subcultural capital, and their subversive intersections with race, class, gender, and affective states in contemporary Greece in landscapes of crisis. Drawing on content analysis of rap lyrics and ethnographic fieldwork on rap and hip-hop dance performativities, resonating contemporary Greek society’s precarities, traumas, and ethics, this article explains why hip-hop and street cultures are so popular today in Greece. Furthermore, it highlights their global dynamics and their present and future potential as an empowering and emancipatory space for young generations.

Grab it and change it, it’s yours: Affect, attitude and politics in 1970s Northern Irish punk music

This paper argues for incorporation of attitude into geographical work on affect. We do so through an engagement with affect in musical experiences and adopting as our focus punk music in Northern Ireland during the 1970s. Through a combination of lyrical analysis and in-depth interviews with some of those involved in the punk scene in Northern Ireland at that time, we find that affective responses to musical experiences can be translated into attitude, shifting from intentional expression, e.g., through clothing or demeanour, to habituation and pre-reflective persistence at the level of the everyday, extending the duration of affect and interweaving the cognitive and pre-reflective. Further, through our emphasis on the temporalities of affect, our focus on punk music in Northern Ireland at the height of the Troubles identifies the attitudinal prefiguration of an anarchist utopia. However, due to the habituation of attitude, this political aspect becomes invisible to and unacknowledged by those exhibiting and instantiating it. This paper extends the affective moment into durable attitudinal dispositions, unsettles rigid notions of separation between the cognitive and pre-reflective, questions the radical openness of affect in the face of the regulatory power of attitude, provides theoretical insights into punk as instantiating an attitudinal form of utopia, and contributes to growing engagement with the political potential of affect.

Sting and Religion: The Catholic-Shaped Imagination of a Rock Icon by Evyatar Marienberg

Reviewed by: Sting and Religion: The Catholic-Shaped Imagination of a Rock Icon by Evyatar Marienberg Aaron J. West Sting and Religion: The Catholic-Shaped Imagination of a Rock Icon. By Evyatar Marienberg. Eugene, OR: Cascade Books, 2021. [xvii, 215 p. ISBN 9781725272255 (hardcover), $36; ISBN 9781757272262 (paperback), $29; ISBN 9781725272279 (e-book), price varies.] Bibliography, permissions. Evyatar Marienberg has written a revealing and well-researched book exploring the influences of Catholicism and spirituality on the music of one of popular music's most compelling and literate icons, Sting (born Gordon Matthew Sumner). Marienberg is an associate professor in the Department of Religious Studies at the University of North Carolina at Chapel Hill. His prior texts are largely centered around religion and spirituality, particularly Catholicism, and this is his first [End Page 401] book addressing a musical topic. Admittedly, religious influences on music are a complex subject for any author and made even more so when involving a complex and private artist such as Sting. Marienberg relies on prior scholarship, primary source material, and an important interview with Sting conducted by the author in 2017 in support of defining and illuminating Sting's remarkable spiritual journey and how it is reflected in his music. Furthermore, the author states that Sting himself read and presumably approved drafts of the book and the research leading to it. In his introduction, Marienberg posits Sting and Religion as a potential model for future studies involving popular artists and spirituality, stating that "studying in great detail both the religious culture surrounding an artist, with special emphasis on the religious culture she or he was exposed to during childhood … can help us to understand both the artist's background … and the artist's output. This book suggests one possible model for doing this" (p. x). Indeed, Sting and Religion is a worthwhile starting point for exploring the religious influences, experiences, and musical/spiritual intersections of popular music's most influential artists. At the beginning of chapter 1, Marienberg plainly states his intentions: "Does Sting use the Bible in his work, and if he does, how?" (p. 1). Marienberg begins this discussion with a short lyric analysis of "Carrion Prince," a very early example of Sting's writing for the band Last Exit. Formed in Newcastle in 1974, three years before the Police, Last Exit was a jazz fusion group featuring the syncopated funk beats and electrified instruments prevalent in the mid-1970s. Sting took advantage of the opportunity to write for this group, whose members were certainly eager to perform new and original material. As Marienberg demonstrates, "Carrion Prince" contains a remarkable number of biblical references that "only a person with a knowledge of the New Testament can write or understand" (p. 2). Marienberg provides an instructive summary of how many of these lyrics refer to the infamous Roman prefect Pontius Pilate. In 1979, Sting reused much of "Carrion Prince" for "Bring on the Night," recorded by the Police for Reggatta de Blanc. Most importantly, Sting omits almost all religious references in "Bring on the Night" while retaining references to T. S. Eliot and possibly Norman Mailer. Regretfully, Marienberg does not discuss this sudden shift from sacred to secular as a potentially revealing example of why Sting integrated so few Biblical references into his lyrics for the Police. Possibly the best example of Sting's sacred lyrics being reused and reworked for his writing for the Police is "O My God." This tune, written around 1975 for Last Exit, features lyrics that are unquestionably Christian. In 1977, while working with Strontium 90, an early assemblage of Police members Andy Summers and Stewart Copeland, Sting reused the lyrics to "O My God" for the emphatically secular song "Three O'Clock Shit." Sting's editing and deleting of spiritual lyrics from prior songs immediately after joining the Police deserves more attention. Nevertheless, Marienberg does provide a fine overview of the numerous biblical references in Sting's works. Most notably, he offers a detailed analysis of Sting's musical The Last Ship, presenting valuable analyses of this rarely discussed work throughout the book. In chapter 2 ("Religion Surrounding Gordon Sumner: Part 1"), Marienberg begins a series of remarkably detailed...

Lyrics Analysis of the Arab Singer Abdel ElHalim Hafez

In this work we analyze the lyrics of one of the most famous and influential Arab artists in the twentieth century, namely, (Abdel ElHalim Hafez). Lyrics analysis provides a deep insight into the artist’s career evolution and his interactions with the surrounding environment including the social, political, and economic conditions. In order to perform such analysis we had to collect and compile the lyrics of Abdel ElHalim accompanied with the necessary metadata into an organized and structured form. The data are preprocessed by removing stop words and doing some normalization operations over the songs’ prose. We did not perform any lemmatization or stemming as the original form of the tokens convey much more information than the source words. We performed a lexical analysis in order to study both the lexical density and diversity over the course of Abdel ElHalim’s career life. We have as well studied the most significant words, idioms, and terms played in the songs using tools such as word clouds and more quantitative measures such as term frequency-inverse document frequency. We have divided the career life of Abdel ElHalim into sub-decades of length 5 years and all analyses are done both in a yearly fashion and more coarsely over such sub-decades. We have found a strong correlation between our statistical analysis and the socio-political status in Egypt and the Arab world during that time. This is especially relevant knowing that Abdel ElHalim is very much truly considered the son of the generation of the 1952 revolution in Egypt. The significance of Abdel ElHalim and his lyrics stem essentially from being contemporaneous to radical changes in Egypt across all sectors including political (support of liberation movements across the world, and the conflict with Israel), and socio-economic (especially changing the social class structure in Egypt). We also investigated the potential effectiveness of PoS (Part of Speech) tagging in genre analysis and classification.