O’BRYAN THE SONGWRITING PROJECT 1

QUESTIONS

- In what ways can Songwriting be beneficial for university students?

- Is there a specific method that can be most productive for the creative process?

- How can I as a facilitator best serve the project’s success?

- Songwriting collaboratively can have strengths and weaknesses, what are those and why?
O’BRYAN THE SONGWRITING PROJECT 2

PROPOSAL

As a senior music education major at James Madison University, I have had the
opportunity to engage in a wide variety of musical experiences. In these moments, I have learned
and grown in both direct and indirect ways regarding my comprehension, understanding, and
creativity in music. When faced with the task of providing inclusive musical engagement, I chose
to create the Songwriting Project.

I’m currently interested in the work that is being done with language and music, and the ways
that music education can positively impact communication skills with students learning a
language. I have researched and studied the relationship between language and music for my
beginning instrumental music methods course, and because of these findings I was inspired to
pursue a songwriting activity. This was due to the related research I discovered regarding the
benefits and effects of songwriting. In one particular study, it was found that undergraduate
non-music major students who participated in a songwriting course had ​developed a greater
interest in music, achieved at higher levels, and were more likely to continue music instruction
(Draves, 2008). Inspired by my research, I decided to organize a songwriting club that would
meet once a week for one month in the semester at a regularly scheduled time and location. This
project was not for experimental or research purposes, but simply to engage with the larger JMU
community in an informed context.
O’BRYAN THE SONGWRITING PROJECT 3

Music Achievement, Self-Esteem, and Aptitude in a College Songwriting Class (Draves, 2008)

APA Citation information​:

Draves, T. J. (2008). Music achievement, self-esteem, and aptitude in a college songwriting class. ​Bulletin of the
Council for Research in Music Education​, ​178,​ 35–46.

Purpose of the Study: ​The purpose of this mixed-methods study was to examine the relationships between music
achievement, musical self-esteem, and musical aptitude of subjects (N = 20) in a songwriting course for
undergraduate non-music majors.

Methods and Participants: ​In the study, ​Criterion measures used were Advanced Measures of Musical Audiation,
Self-Esteem of Musical Ability, and ratings of subjects' original compositions. Two judges rated the compositions
using a researcher-designed rating scale. Journals kept by students (N=20) throughout the semester were coded and
analyzed for the following themes related to musical self-esteem: Personal Desire/Interest, Support/Recognition
from Others, and Perceived Music Ability.

Key Findings:​ The study resulted in finding ​significant relationships (p < .05) between all criterion measures. With
encouragement from teachers and opportunities for social music-making more students may develop a greater
interest in music, achieve at higher levels, and be more likely to continue music instruction

Discussion Points:
● Songwriting for college-level students can promote an interest in music as an overall subject
● Because there is a correlation found in this subject matter, songwriting as a class or activity can continue to
be pursued academically

Your Comments/Questions: ​The study was fascinating due to the amount of detail that went into the analysis of
songwriting and musical/subject evaluation. There was information regarding the psychological and emotional
response of students in the songwriting class which was effective in recording and gathering data.
O’BRYAN THE SONGWRITING PROJECT 4

Turning Experience Into Learning: Educational Contributions of Collaborative Peer Songwriting

During Music Therapy Training (Baker & Krout, 2012)

APA Citation information​:

Baker, F., & Krout, R. (2012). Turning experience into learning: Educational contributions of collaborative peer
songwriting during music therapy training. ​International Journal of Music Education​, ​30​(2), 133–147.

Purpose of the Study: ​The purpose of the study was aimed to identify the learning outcomes – musical,
professional, and personal – that occurred when students participated in collaborative peer songwriting experiences.

Methods and Participants: ​Student pairs (and one trio) of 21 U.S. and Australian students involved in training to
become professional music therapists co-created two songs with peers related to their clinical experiences. After the
study, participants provided written reflections on predetermined questions to identify students’ perceived learning.
A content analysis of their responses was undertaken by the authors and forwarded to students for verification before
moving forward in the study.

Key Findings:​ ​Analysis of student reflections revealed that students developed a deeper understanding of the
therapeutic potential of songwriting, including its capacity to express mixed emotions. Their professional skills were
enhanced, particularly that of insight and reflection. Further, learning about the self was evident in their
identification of their own strengths and weaknesses, the way they responded to stress, and how utilized songwriting
as a tool for managing their emotional states.

Discussion Points:
● Songwriting for students can provide an outlet for emotions and experiences
● Songwriting provides a means for self-reflection and professionalism

Your Comments/Questions: ​The study was extremely beneficial for my personal research because it outlined the
exact age group and population I was primarily working with. It was interesting that in my personal experiences
with songwriting I felt similarly to the students who were in the case-study.
O’BRYAN THE SONGWRITING PROJECT 5

"Untold Stories to Tell": MAKING SPACE FOR THE VOICES OF YOUTH SONGWRITERS
(Williams, 2013)

APA Citation information​:

Williams, W. (2013). "Untold Stories to Tell": MAKING SPACE FOR THE VOICES OF YOUTH
SONGWRITERS. ​Journal of Adolescent & Adult Literacy,​ ​56​(5), 369-379.

Purpose of the Study: ​The purpose of the study is to investigate two male public students’ songwriter motivations,
writing methods, and school experiences.

Methods and Participants: ​In the study, ​data was collected over the course of one year through two in-depth
interviews per songwriter, two teacher interviews, and 101 songwriting artifacts. Grounded theory and constant
comparison methods were also used during data analysis.

Key Findings:​ The two participants in the case-study were concluded to ​see songwriting as a masculine alternative
to journaling, and they have strong preferences regarding their writing tools, time, and space. Additionally, these
songwriters prefer to write one line at a time and to have a choice of topic - preferences that sometimes conflicted
with their school experiences. In conclusion, it was found that the two students were better able to express their
thoughts and experiences through songwriting as opposed to journaling or conventional writing.

Discussion Points:
● Songwriting for students can provide an outlet for emotions and experiences
● Songwriting can be utilized as an extracurricular activity for students who prefer to participate in a specific
setting.

Your Comments/Questions: ​The study was fascinating due to the method of participation and evaluation. Having
only two subjects for the work emphasized the complexities of each, and it was interesting to see the similarities and
differences in the songwriting methods, interests, and preferences.
O’BRYAN THE SONGWRITING PROJECT 6

Comparing and Modeling Musical Thought Processes of Expert and Novice Composers

(Younker & Smith, 1996)

APA Citation information​:

Younker, B., & Smith, W. (1996). Comparing and modeling musical thought processes of expert and novice
composers. ​Bulletin of the Council for Research in Music Education,​ (128), 25-36.

Purpose of the Study: ​The purpose of the study is to investigate how thought processes are used in the music
composition experience and to investigate possible developmental patterns that may emerge based on the collected
data and from the composers’ backgrounds.

Methods and Participants: ​The study utilized a qualitative analysis and model of the structure of verbal protocols
and music productions collected during a melodic composition task. Four subjects participated in the study, each
with a pre-determined category of age and compositional experience. Subject 1 was the ​adult expert​, Subject 2 was
the ​adult novice​, Subject 3 was the ​high school expert​, and Subject 4 was the ​high school novice​. All subjects were
selected from a questionnaire that proved enough music theory knowledge to complete the compositional exercise.
The research had controlled variables such as the compositional exercise, the rhythmic “shell” for the composition,
and the same instructions given to each subject.

Key Findings:​ Both the novice adult and novice high school subjects wrote immediately the melody, and both
verbalized either the melody/harmony or their process while composing. Meanwhile, the adult expert and high
school expert played with harmonic modulations, but the high school expert struggled with the dissonance of theory
and making the melody “sound right”. In conclusion, there were differences in process between all four subjects and
this defined four distinct possible developmental patterns in musical composition.

Discussion Points:
● Compositional techniques are different for every individual
● Songwriting/Composing is not a linear process, as there are many variables in how one approaches the
activity

Your Comments/Questions: ​The study was fascinating due to the method of participation and evaluation. The
subjects each had vastly different approaches to composition, even within their respective adult or high school
categories. This furthered the concept of composition as an art form such as writing and painting.
O’BRYAN THE SONGWRITING PROJECT 7

Themes in the Literature:

● Theme 1: Songwriting Promotes Musical Interest

● In the works I’ve researched, a common theme throughout is that the participants in all the studies were
engaged and interested in music and writing songs and/or composing their own music. This is exciting
because it shows that through these types of activities we can grow musical interest in students.
○ (Draves, 2008)
○ (Baker & Krout, 2012)
○ (Williams, 2013)
○ (Younker & Smith, 1996)
● Theme 2: Songwriting Develops Individual Emotional Expression & Creativity
● A common theme I discovered while researching is that most participants in all studies are described to
have developed their own creative method for composition/songwriting, and that it also facilitated an
increase in emotional expression.
○ (Draves, 2008)
○ (Baker & Krout, 2012)
○ (Williams, 2013)
● Theme 3: Songwriting can be Used for Participation and/or Collaboration in Music
● Some of the research I conducted indicated that by incorporating songwriting/composition activities,
participants can become more interested in music and are more likely to enjoy the experience when
presented with the activity.
○ (Draves, 2008)
○ (Baker & Krout, 2012)
○ (Williams, 2013)
○ (Younker & Smith, 1996)
O’BRYAN THE SONGWRITING PROJECT 8

Bibliography

Baker, F., & Krout, R. (2012). Turning experience into learning: Educational contributions of

collaborative peer songwriting during music therapy training. ​International Journal of

Music Education,​ ​30(​ 2), 133–147.

Draves, T. J. (2008). Music achievement, self-esteem, and aptitude in a college songwriting

class. ​Bulletin of the Council for Research in Music Education,​ ​178,​ 35–46.

Williams, W. (2013). "Untold Stories to Tell": MAKING SPACE FOR THE VOICES OF

YOUTH SONGWRITERS. ​Journal of Adolescent & Adult Literacy,​ ​56(​ 5), 369-379.

Younker, B., & Smith, W. (1996). Comparing and modeling musical thought processes of expert

and novice composers. ​Bulletin of the Council for Research in Music Education,​ (128),

25-36.