Therapeutic Songwriting

Therapeutic Songwriting

Also by Felicity A. Baker: VOICEWORK IN MUSIC THERAPY Research and Practice (co-edited with S. Uhlig) MUSIC THERAPY IN NEUROREHABILITATION A Clinician s Manual (with J. Tamplin) SONGWRITING Methods, Techniques and Clinical Applications for Music Therapy Clinicians, Educators and Students (co-edited with T. Wigram) CREATIVE ARTS IN COUNSELING AND MENTAL HEALTH (co-edited with P. Neilsen and R. King)

Therapeutic Songwriting Developments in Theory, Methods, and Practice Felicity A. Baker University of Melbourne, Australia

Felicity A. Baker 2015 Softcover reprint of the hardcover 1st edition 2015 978-1-137-49921-9 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No portion of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, Saffron House, 6-10 Kirby Street, London EC1N 8TS. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The author has asserted her right to be identified as the author of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2015 by PALGRAVE MACMILLAN Palgrave Macmillan in the UK is an imprint of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan in the US is a division of St Martin s Press LLC, 175 Fifth Avenue, New York, NY 10010. Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave and Macmillan are registered trademarks in the United States, the United Kingdom, Europe and other countries. ISBN 978-1-137-49922-6 DOI 10.1057/9781137499233 ISBN 978-1-137-49923-3 (ebook) This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. Logging, pulping and manufacturing processes are expected to conform to the environmental regulations of the country of origin. A catalogue record for this book is available from the British Library. A catalog record for this book is available from the Library of Congress.

Contents List of Tables List of Figures Acknowledgments xiv xv xvii Section I Introduction 1 1 Introduction, Research Focus, and Approach 3 Early experiences of songwriting 3 Rationale for researching songwriting practices 5 Overview of the research process 6 Models and methods 8 What you will find described in this book 9 2 Songwriting: A Coming of Age 13 So what is therapeutic songwriting? 13 Trends in songwriting publishing 14 Strengths of songwriting 16 Songwriting, culture, and society 16 Versatility of songwriting 17 Songwriting invites a therapeutic process 19 Combining language and music 21 Song creations represent a therapeutic journey 21 The social nature of songwriting 22 Transforming the environment 22 Songwriting creates artifacts 22 Limitations and contraindications of songwriting 23 Songwriting has negative influences on the songwriter 24 Songwriting demands time and energy 24 Songwriting involves verbal expression 25 Distribution of artifacts presents risks 25 Section II Factors Influencing the Songwriting Process 27 3 Environmental Factors 29 Organizational structures 30 Organizational culture 34

vi Contents The physical space 35 The private space 37 Conclusion 39 4 Sociocultural Factors 41 East versus West 42 Spiritual and religious beliefs 43 Socioeconomic status and gender 44 Music s diverse roles in different sociocultural groups 45 Heterogeneity versus homogeneity 47 Language barriers 49 Diversity and the therapeutic relationship 50 Conclusion 51 5 Individual Factors 53 Physical and physiological wellbeing 53 Cognitive factors 56 Developmental factors 59 Personality and psychological wellbeing 60 Emotional wellbeing 64 Relationship to music and musical skills 66 6 Group Factors 67 Group composition 67 Group size 70 Group conflict 71 Group cohesion 72 7 Role of Music in Songwriting 75 Conveying meaning 75 Enhancing emotional dimension of the lyrics 79 Identity building 81 Connecting with others 82 Music, process, and outcomes 83 Music genre 85 Music technology 86 Section III Songwriting Methods 89 8 Introducing Songwriting Methods 91 Categorizing songwriting methods 91 Introducing songwriting 94 Precursors and strategies to introducing songwriting 94 Events preceding songwriting within sessions 94

Contents vii Events preceding songwriting across multiple sessions 96 Priming and preparation 96 9 Songwriting Methods that Emphasize Lyric Creation 99 Fill-in-the-blank 99 Song parody 101 Strategic songwriting 104 Strategic reasons for selecting methods that emphasize lyric creation 106 Therapist can control and manipulate the ratio of original words to new words 106 Functions as a primer and an ice-breaker or warm-up 107 Demystifies the songwriting process 108 Builds songwriting skills 108 Suitable for developing rapport early on in therapeutic relationship 109 Suitable for brief therapy models 109 Songwriters need to experience success 110 Deeper therapeutic songwriting approaches are contraindicated 110 Some songwriters have poor concentration or poor delayed gratification 111 Songwriters present with cognitive challenges 111 Suitable for songwriters who need grounding 112 Pre-composed songs can be familiar and speak to the songwriters 112 Using pre-composed familiar songs leads to increased group engagement 112 Reinforces or re-examines the songwriter s identity 113 Strategic songwriting removes influence of a pre-existing relationship with a song 113 Limitations and contraindications 113 Familiarity with original lyrics influences the songwriter s ideas and expression 113 The song product is never completely authentic or owned by the songwriter 114 Songwriters may not want to have their favorite songs altered 114 Limited ability to facilitate a deep therapeutic process 114 Some group members may disagree with or dislike the songs used for group parody writing 115 Using preferred music during FITB or parody may change people s relationships to that song long-term 115

viii Contents Rapping over pre-composed music/remixing 116 Rapping over pre-composed rap beats/samples/ melodies in synchronous time 116 Rapping over pre-composed rap beats/samples/ melodies in asynchronous time 117 Strategic reasons for selecting rapping over pre-composed music 120 Facilitates flow experiences 120 Rap songs express issues relevant to marginalized youth 120 Rapping doesn t demand strong singing skills 121 New music is created when newly composed lyrics are rapped over pre-existing loops 121 Rap permits breaking the rules 121 Rap music focuses on truth-telling 122 Limitations and contraindications 122 Creating rhymes that communicate a songwriter s story is challenging 122 Songwriters avoid a therapeutic process when focusing on creating rhyming lyrics 122 10 Songwriting Methods that Emphasize Lyric and Music Creation 123 Rapping or singing over original music 123 Strategic reasons for rapping over original music 127 Creating the original music increases authenticity and truth-telling 127 Creating original music increases ownership 127 Creating original music increases participation 127 Limitations and contraindications 128 Staying in flow, rhythm, and rhyming can be demanding 128 Song collage 128 Strategic reasons for selecting song collage 131 Difficulty articulating feelings or fear of emotional expression based on cultural or gender factors 131 Cognitive difficulties including poor initiation and idea generation 131 Suitable for brief therapy models 131 Songwriters experience success 132 Limitations and contraindications 132 Lyrics from existing songs may influence songwriters ideas and expression 132 The song product is never completely authentic or owned by the songwriter 132

Contents ix Improvised song creations 132 Once-upon-a-time 133 Improvised lyrics over therapist s musical accompaniment 134 Instrumental/vocal improvisational songwriting 135 Lyrical narration/instrumental songwriting 136 Strategic reasons for choosing improvised songs 137 Improvised songs create a musical space for exploring and expressing the self 138 Improvised, play-based songwriting appeals to younger children because of its interactive nature 138 Improvised songwriting provides opportunities for therapists to mirror and reflect a songwriter s contributions 138 Improvised music can unblock songwriters moments of being stuck 138 Involves collaborative music-making experiences with songwriter and therapist 139 Limitations and contraindications 139 Improvised songs may not lead to aesthetically appealing song products 139 Improvised songwriting might be too abstract for some songwriters 140 11 Songwriting Methods that Emphasize Music Creation 141 Mash-ups, pastiche, and hodge podge 141 Original songwriting within known structures 144 Strategic reasons for selecting original songwriting approaches 150 Using song structures demystifies the songwriting process 150 Allows deep engagement with and experiencing flow within the therapeutic process 150 Allows for creative, meaningful, artistic artifacts to be crafted 151 Structure guides the songwriter to stay focused on communicating a story 151 Flexibility allows for original melody lines and harmonic frameworks to express climax, conflict, and/or resolutions 151 Removes possibility of being influenced by pre-existing songs 152

x Contents Eliminates the possibility of changing people s relationship with a pre-existing song 152 Moves people outside their comfort zone 152 Allows for a songwriter s (musical) identity to be explored 153 Limitations and contraindications 153 Original songwriting takes time 153 Original songwriting may be challenging for those with cognitive or language difficulties 154 Original songwriting may be unsuitable for those who need to be more grounded 154 Section IV Orientation 155 12 Outcome-Oriented Models of Songwriting 157 Behavioral influences 157 Models 158 Contingency songwriting 158 Successive approximation songwriting 159 Lyric repetition technique 159 Cognitive influences 160 Cognitive restructuring 161 Problem-solving 162 Psychoeducation 163 Acceptance 164 Readiness for change 164 Models 165 Songwriting for cognitive restructuring 165 Psychoeducational songwriting 166 Transtheoretical songwriting 167 Learning and neuroscience theories 168 Models 169 Restorative songwriting 169 Behavior recall songwriting 170 Critical points and levels of depth in the therapeutic process 171 The role of songwriting and the music 174 The role of the therapist and the songwriter 175 The role of the artifact 178 Conclusion 178 13 Experience-Oriented Models of Songwriting 179 Psychodynamic influences 180

Contents xi Unconscious, preconscious, conscious mind, and defense mechanisms 180 Transference 181 Free association 181 Object relations theory 182 Symbols and metaphors 183 Models 184 Songwriting within psychodynamic-oriented music therapy 184 Songwriting as a self-integration process 185 Transference in songwriting 187 Free associative songwriting 189 Songwriting using symbols and metaphors 190 Songs as transitional objects 192 Reality contemplation songwriting 193 Critical points and levels of depth in the songwriting process 194 The role of songwriting and the music 196 The role of the therapist and the songwriter 198 The role of the artifact 200 Humanistic influences 201 Positive psychology 203 Broaden-and-build theory 204 Strengths-based theory 204 Peak experiences and flow 205 Narrative influences 206 Existential influences 206 Creative music therapy influences 207 Models 208 Narrative songwriting 208 Insight-oriented songwriting 209 Music-centered songwriting 212 Strengths-based songwriting 214 Existential issue-based songwriting 215 Sung imaginal dialogue and empty chair songwriting 215 Critical points and levels of depth in the therapeutic process 216 The role of songwriting 221 The role of the music 222 The role of creativity, peak experiences, and flow 223

xii Contents The role of the therapist and the songwriter 224 The role of the artifact 226 Conclusion 232 14 Context-Oriented Models of Songwriting 233 Music therapy in context, as context, and as interacting contexts 234 Feminist music therapy 235 Theoretical frameworks, aims, and objectives 235 Models 237 Feminist focused song parody 237 Feminist individual songwriting 237 Feminist group songwriting 239 Critical points and levels of depth in the songwriting process 242 The role of songwriting and the music 243 The role of the therapist and the songwriter 245 The role of the artifact 246 Community music therapy 248 Theoretical frameworks, aims, and objectives 248 Health perspectives and health musicking 248 Ecological systems and approaches 249 Social capital 250 Culture-centered influences 250 Empowerment 251 Affordance and appropriation 251 Models 252 Songwriting as a health musicking practice 253 Songwriting as an ecological practice 254 Songwriting for building social capital 256 Songwriting as a culture-centered practice 259 Affordance and appropriation through songwriting 260 Critical points in the songwriting process and levels of depth 261 The role of songwriting and the music 261 The role of the therapist and the songwriter 264 The role of the artifact 266 Resource-oriented music therapy 268 Theoretical frameworks, aims, and objectives 268 Models 270 Critical points in the songwriting process and levels of depth 272

Contents xiii The role of songwriting and the music 273 Role of the therapist and the songwriter 274 Role of the artifact 276 Conclusion 282 15 Songwriting as an Integral Practice 283 Notes 287 References 291 Index 313

List of Tables 2.1 Types of people engaging in therapeutic songwriting 16 8.1 Predetermined song components for different songwriting approaches 92 10.1 Lyrics created by the songwriter and their origin 129 11.1 Structure of the Blues 148 12.1 Salient features of outcome-oriented models of songwriting 176 13.1 Lyrics of past, present, and future self-focused songs created by people with SCI 210 13.2 Salient features of experience-oriented models of songwriting 228 14.1 Salient features of context-oriented models of songwriting 277 xiv

List of Figures 1.1 My Mum Is a Superstar (song parody) 4 4.1 Forces that influence songwriting in the sociocultural field 51 7.1 Example of use of melodic contour to signify importance of certain words 78 8.1 Map of songwriting methods across a two-dimensional continuum 93 9.1 Steps involved in the FITB method 100 9.2 Steps involved in the song parody method 103 9.3 Steps involved in the strategic songwriting method 105 9.4 Example of song parody 108 9.5 Steps involved in rapping over pre-composed music 118 10.1 Steps involved in rapping over original music 124 10.2 Steps involved in song collage method 130 10.3 Example of the once-upon-a-time method 133 10.4 Steps involved in once-upon-a-time method 134 10.5 Steps involved in improvised lyrics over therapist s music 135 10.6 Steps involved in instrumental/vocal improvisational songwriting 136 10.7 Steps involved in lyrical narration/instrumental songwriting 137 11.1 Steps involved in mash-up songwriting methods 143 11.2 Steps involved in original songwriting 146 11.3 Example of an original song, Miracle 147 11.4 Example of a blues song creation 149 xv

xvi List of Figures 11.5 Example of a chant song form 149 12.1 Example of cognitive restructuring via 12-bar blues 167 12.2 Example of behavior recall songwriting 171 13.1 Songs with archetypal images 187 13.2 Example of lyrics illustrating internal conflict 187 13.3 Lyrics of song illustrating transformation to healthy resistance 189 13.4 Positive psychology themes that emerge from group songwriting with retirees 211 13.5 Example of sung imaginal dialogue 217 13.6 Example of song composed at the supportive activities-oriented level 220 14.1 Model of feminist individual songwriting 238 14.2 Example of feminist individual songwriting 240 14.3 Example of feminist group songwriting 241 14.4 Phases of the feminist songwriting processes 244 14.5 A map of potential song participants and audiences 256 14.6 Illustration of O Grady s (2009) process of creating a musical 258 15.1 Models of therapeutic songwriting 285

Acknowledgments Writing this book has been perhaps the biggest academic challenge in my life to date. It has pushed me to expand my views on practice, shifted my thinking about possibilities, and enabled me to grow and deepen my appreciation for songwriting as a method. It has been an absolute privilege to work on this book over the past four and a half years and I thank Nicola Jones and Eleanor Christie and their team at Palgrave Macmillan for agreeing to publish it. I also want to thank the Australia Research Council for funding my research fellowship (ARC Future Fellowship FT100100022). Without the ARC s support, I could not imagine undertaking a project of this scale. While I am very close to the contents of this book and have poured my heart and soul into it, what has been communicated in the ensuing pages has unquestionably come about because of the interviews and interactions with 45 experienced clinicians and researchers. As you read the book, their varied perspectives are represented in every chapter. My thanks to all of them for finding space in their busy lives to share their work with me. Many allowed me to visit their workplaces, watch sessions, and share examples of songs. They have all been very generous with their time and I thank them for the privilege of being able to hear (and now represent) their work. I want to acknowledge the intellectual contributions of Michael Viega, Helen Short, and Kimberly Khare, whose approaches and perspectives on songwriting have greatly impacted my thinking. Our numerous dialogues and your sharing of powerful stories have opened me to possibilities and perspectives I was not aware of, and your critical feedback of this entire draft has challenged my thinking; your voices are very much present in this book. My thanks to the three of you for your generosity over the years. A special thanks also to Jinah Kim, Helle Lund, Hanna Hakomaki, Neils Hannibal, Randi Rolvsjord, Brynjulf Stige, Lucy Bolger, Amy Clement-Cortes, and Ken Aigen, who all read early developed models and drafts of the analysis and provided invaluable feedback. I also want to recognize the contributions of my long-term collaborator and friend Jeanette Tamplin. Having worked closely as clinicians and co-researchers for almost 20 years, I hold a great deal of admiration and respect for her work. Her voice and perspectives on songwriting are present in this book. I want to thank Professor Kenneth Bruscia here. I attended his Sear s lecture at the American Music Therapy conference in Atlanta in xvii

xviii Acknowledgments 2011 where he mapped out his integral thinking outcome-oriented, experience-oriented, and context-oriented thinking. This keynote address had a profound effect on me. It helped me to find a way to frame the development of the models presented in this book. While not specific to this book, I cannot write an acknowledgment section without paying tribute to my mentors: Denise Grocke, Tony Wigram, Cheryl Dileo, and Barbara Wheeler. You have offered me varied forms of support over the years. If I ever asked for help, you never refused (despite how busy you all were), and have afforded me opportunities I once only dreamed about. I also want to say a special thank you to my friend and colleague Katrina McFerran. We have known each other a long time and share a common lust for life and a sense of who we are in the world. You are a true gem immensely intelligent, strong, passionate, and committed. I truly treasure your friendship, your respect, and your embracing of our differences; through you, I grow. Thank you to both my parents for your years of support and for allowing me the freedom to make my own career decisions, follow my passion, and to love me even when I made a few big mistakes along the way. The life messages you have taught me have made me strong, resilient, and driven. I thank you for bringing music into my life it is the best gift you could have ever given me. Dad, I know you would have loved to read this book, to have held it in your hands. You were always so proud of my achievements. Mum, you are my idol you have taught me all I know about responding and adjusting to what life throws at me. You have shown me that being a woman is a gift not a problem, and that I can be empowered to create a world where my gifts and talents can be utilized and recognized. To Nathan: You have witnessed firsthand my transition from a dynamic and caring clinician to a passionate academic and researcher. You more than anyone else in the world know how important this research has been to me. You not only support me but also encourage me to step outside my comfort zone, take a risk, stretch myself, and grow. You continue to hold true to your marriage vows of allowing me to become who I want to be, to fulfill my dreams and potentials. Thank you for giving me space to write this book, for taking care of our boys so I could travel and collect data, and for pouring me that glass of Pinot Gris when I needed to take a break. I am so fortunate to have you in my life. And to my boys Maximillian and Finnegan: you keep me grounded, remind me that life is about love, relationships, sharing experiences, connecting, and belonging. Your morning cuddles, cheeky I ve been naughty smiles, games of Monopoly, daily reading sessions, and weekend Hobbit or Lord of the Rings movie sessions are a source of meaning and vitality in my life. I love you boys.