Creative Group Songwriting

CINDY DUBESKY EDGERTON’ The Starr Commonwealth Schools, Albion, Michigan

ABSTRACT: Songwriting with adolescents has proven to be an ef­ There are several identified sources of the problems which
fective technique in developing group cohesiveness, enhancing self­ are common to emotionally impaired adolescents. Many have
expression, increasing self-esteem, and developing insight into feel­
experienced severely damaged adult-child relationships as a
ings and needs, both of self and of others. Songwriting has been used
with a variety of populations, but the primary emphasis has been
result of broken homes, residential placements, and abuse
primarily on lyric writing. This paper explains one approach to song­ and/or neglect. Additionally, some individuals have not had
writing, “Creative Group Songwriting,” in which groups of emotion­ adequate opportunities to attach to and identify with parent
ally impaired adolescents were given opportunities not only to write figures. Other individuals have identified with adults who are
lyrics but also to compose their own music. An overview of the char­
emotionally impaired themselves. Adolescents who exhibit
acteristics and needs of emotionally impaired adolescents is provided

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followed by a review of research and literature in therapeutic song­
antisocial behaviors in the community and schools may have
writing techniques as well as song composition in general. After de­ experienced several traumatic events in their past such as
scribing the structure used in sessions, Creative Group Songwriting violence, drug abuse, and sexual abuse. Many have not had
is divided info six steps, each of which is described in terms of pro­ opportunities for adequate peer relationships and positive
cedures and objectives. Three group case examples are presented.
recreational activities along with inadequate economic se­
curity in their lives.
Emotionally Impaired Adolescents It is of utmost importance for therapists to be sensitive to
Adolescence can be described as a transition in one’s life the conflicts that emotionally impaired adolescents are ex­
periencing and to establish treatment goals accordingly. One
from being a child to becoming an adult. Although universal
of the most common is to increase self-concept. Other goals
agreement on a definition of adolescence does not exist (Sis­
might include increasing self-expression, developing prob­
son, Hersen, & Van Hasselt, 1987), it is generally accepted that
it is a process in life during which physical, emotional, social, lem-solving skills and effective coping techniques, and de­
and moral changes take place. veloping care and concern for others.
The term, emotionally impaired, generally refers to an in­
dividual who is experiencing conflicts within him/herself and Therapeutic Songwriting
with others and who frequently expresses these conflicts in
Songwriting is described by authors and researchers as an
socially unacceptable ways. Caplan (1965) describes the prob­
effective music therapy technique used in achieving various
lems experienced by disturbed adolescents as developing from
goals such as building group cohesiveness, increasing self­
a weakening of the ego. This weakening occurs when ado­
expression and self-esteem, improving interpersonal com­
lescents are no longer able to cope effectively with all of their
munication and the recovery of repressed material, and en­
impulses and drives. Redl and Wineman (1957) elaborate on
hancing insight into personal issues (Aprey & Aprey, 1975;
the cognitive, power, selective, and synthetic functions of the
Batcheller & Monsour, 1972; Bruscia, 1987; Ficken, 1976; Freed,
ego and describe the characteristics of these functions when
1987; Plach, 1980; Priestley, 1975; Schmidt, 1983; Wascher,
they are disturbed. The concept of the delinquent ego is
1981).
introduced by Redl and Wineman (1957) and is defined as an
In reviewing specific procedures of songwriting, lyricwrit­
ego which is well developed but “is functioning in the service
ing is found to be the most frequently emphasized compo­
of the wrong master” (p. 141). Efforts of a delinquent ego are
nent. The overall music composition is usually of peripheral
directed toward deceiving its own conscience, searching for
importance to the procedures. Freed (1987) offers a successive
delinquency support, and defending against change rather
approximation process in lyricwriting and discusses effective­
than finding a balance among reality, desires, and impact of
ness of both this process and lyric analysis. Also focusing on
social values.
lyrics, Aprey and Aprey (1975) describe the use of songwriting
Other terms that are frequently used to describe behaviors
to facilitate recovery of repressed material. Schmidt (1983) and
of emotionally impaired adolescents are behavior disordered
Ficken (1976) describe techniques used to promote lyric writ­
and socially maladjusted. Whatever term is utilized, it is im­
ing skills and suggest some approaches to creating musical
portant to take into consideration both individual psycholog­
settings and melodies. Murphy (1983) also addresses the pro­
ical problems and sociological influences.
cess of developing a general framework for a musical accom­
paniment to lyrics. Plach (1980) describes his method which
consists of individuals randomly placing notes on a staff and
*Cindy D. Edgerton. RMT-BC, is the music therapy program coordinator at
The Starr Commonwealth Schools in Albion, Michigan, and is currently pur­ selecting a title for the group composition.
suing her master’s degree in music therapy at Michigan State University. Aspects of music composition are included in improvisa­
© 1990, by the National Association for Music Therapy, Inc. tional models of music therapy. Ruppenthal (1965) presents
15
16 Music Therapy Perspectives (1990). Vol. B

case studies in which individuals work through improvisation Creative Croup Songwriting
to create an instrumental composition. Experimental Improvi­ A variety of songwriting techniques can be utilized with
sation Therapy consists of two procedural cycles which are emotionally impaired adolescents. One technique, Creative
repeatedthroughout the session until the group is ready to Croup Songwriting, has been used effectively by the author
perform its entire improvisation (Bruscia, 1987). The Orff- in facilitating the following three goals: (a) increased self­
Schulwerk method emphasizes the processes of improvisa­ expression, (b) development of group cohesiveness, and (c)
tion, selectivity, fulfillment, and closure, each of which in­ increased self-esteem.
cludes compositional considerations and techniques (Bitcon, If adapted, Creative Group Songwriting can be used with
1976). Katsh and Merle-Fishman (cited in Bruscia, 1987) use groups at different functioning levels and at different levels
performances of improvisations in their final phase of Meta­ of cohesiveness. The following procedures are used by the
phoric Improvisation Therapy in order to provide nurturance author with groups of 12 emotionally impaired male adoles­
and to “achieve a nonverbal consolidation of the experiences cents who are able to function in a moderately structured
which have taken place in the session” (p. 328). setting. Most of these students have had very little or no past

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Song Composition music education experiences. The only requirement of the
group is that everyone must participate. Creative Group Song­
Composition research and literature reveal that the actual writing usually consists of six steps. Depending upon the group,
sequence of composition varies with the style of music and these steps continue throughout 6 to 10 two-hour sessions.
the composer. Pickow and Appleby (1988) give suggestions
on using the following six songwriting approaches dependent
upon one’s preferences: lyric-first, melody-first, hook-first, Creative Group Songwriting can be used with groups
harmony-first, rhythm/riff-first, and collaboration. Berger
at different functioning levels and at different levels
(1983) suggests beginning with the “kernel musical hook” (p.
of cohesiveness.
5). or the part of the song that grabs the listener’s attention,
and continuing to develop the music using either a chord
progression or a melodic development. Bennett (1975) agrees
with Berger in beginning with a “germinal idea” (p. 205) or a Step l--Lyric Analysis and interpretation
musical hook. His compositional approach continues with the Procedures. Students begin by listening to a song chosen by
use of improvisational techniques and stresses that creating the therapist and discussing their perceptions of what the
music should precede writing and reading music. songwriter is communicating. After deciding on possible
In reviewing various compositional techniques used in dif­ themes, lyrics are broken down according to form with in­
ferent musical styles, Adams (1986) states that western music troductions, choruses, verses, bridges, and codas defined and
relies on the use of a musical motive in constructing musical identified. Techniques used by the songwriter in creating the
works. Pickow and Appleby (1988) suggest that in writing funk, lyrics are then explored. Some of these techniques are as
disco, or up-tempo rhythm and blues, beginning with the follows: (a) expressing various feelings regarding the theme,
“rhythmic fabric” (p. 152) may facilitate development of the (b) citing examples which validate the theme, (c) using sym­
melody, harmony, and lyrics. In looking at pop music, com­ bolic words and/or phrases in describing the theme,(d) telling
position techniques vary, with many songs having more than stories relating to the theme, and(e) answering questions about
one composer (Davis, 1985). Adams (1986) provides the fol­ the theme.
lowing four designs for composing electronic music: improvi­ Students then identify examples of perfect, imperfect, and
sation and experimentation, top-down design, bottom-up de­ internal rhymes in the song and figure out the patterns of
sign, and modeling. these rhymes. Next, they recite and clap the rhythms of the
Debates also continue in the issue of theamount of planning lyrics. Discussion continues in relating the lyrics to both in­
needed to compose a song. Adams (1986) states, “there must dividual and group issues. This is then repeated with one or
be some prior planning, and certainly some feeling for music, two different songs, giving students the opportunity to hear
whether intuitive or the product of formal training” (p. 179). and examine the variety of techniques used in lyric writing.
Swados (1966) defines composition as “the art of taking some­ Objectives. This step enables students to:
thing from instinct and accident and making it permanent” 1. Learn lyricwriting techniques.
(p. 3). 2. Express thoughts and feelings elicited by songs.
In summary, there is not a universal agreement on the best
way to approach music composition. In using songwriting in Step 2-Music Analysis
music therapy, Schmidt (1983) states, “The question becomes Procedures. After the songs used in the first step are played
not so much words first or music first, but how much structure again,students identify the hooks (those elements which catch
one must provide for the group members” (p. 4), taking into their attention) contained in the songs. The form of each song
account the needs of the clients rather than depending on is reviewed with emphasis placed on specific musical changes
traditional modes of the songwriting process. and repetitions. instruments used in the songs are listed and
Creative Group Songwriting

discussed according to their roles throughout the songs. Stu­ Table 1

dents then analyze the melodic, harmonic, and rhythmic ele­ Lead Guitar Player’s Transcription Sheet
ments of the lyrics, listening for any word-painting techniques
used in matching the character of the lyrics to that of the Rhythm Guitar Lead Guitar
music. Frets String(s) Frets
Objectives. The second step of Creative Group Songwriting open 4th 3 or 4
provides students with opportunities to: 1st 4th 4
1st 3rd open
1. Learn new music composition techniques.
2nd 3rd Open or 1
2. Improve listening skills. 3rd 3rd 1 or 2
3. Identify creative techniques. 4th 3rd 2 or 3
5th 3rd 3
Step 3-Theme and Style Selection 5th 2nd Open
6th 2nd Open or 1
Procedures. The group’s next step is to select both a theme
7th 2nd 1 or 2
which relates to current group issues and the music style of 8th 2nd 2 or 3

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its song. This is usually done in the form of brainstorming in
which students suggest and list numerous themes no matter
how unrealistic they appear. The group members then briefly
discuss each one, and a group decision must be made on the
selection of one theme. This process is then repeated in de­
ciding upon the style and overall mood of the song.
Objectives. Verbal interactions in this step enable students
to:
1. Identify group issues.
2. Express their own thoughts and feelings.
3. Improve group decision-making skills.
Step 4-Lyricwriting
Procedures. The fourth step, executed either individually or
as a group, begins with students discussing and elaborating
on the selected theme. All ideas given by students are written
down and are used as the basis of the lyricwriting process.
Prior group discussion of the chosen theme and of lyric anal­
ysis techniques, along with the newly generated ideas, are
used to facilitate this task. The chorus is written by first iden­
tifying and subsequently combining the major thoughts con­
cerning the theme. The remainder of the ideas are then re­
worded to form the verses and, if applicable, the bridge. Rhyme
and lyric rhythms are discussed throughout this fourth step.
Objectives. Participation in this step provides students with
opportunities to:
1. Compromise with other group members.
2. Learn and practice appropriate means of self-expression.
3. Seek productive coping techniques.
4. Contribute their individuality to the group song.
Step 5-Music Composition
Procedures. The fifth step is to compose music for the group’s
lyrics. These sessions consist of structured improvisation ac­
tivities or “add-ons.” Instruments utilized include a trap set,
a drum machine, samplers (electronic keyboardswith the abil­
ity to accept sounds from data disks), electric guitars (one is
open-tuned, using only the root and fifth of the D chord, and
the other is toned conventionally), and electric basses. The
group first decides who will be the vocalists and then divides
up the instruments so that each student has a part. Data disks
9th 2nd 3 or 4
10th 2nd 4
10th 1st Open
11th 1st Open or 1
are loaded into the samplers, the group chooses several in­
strumental sounds and/or sound effects for theimprovisation.
The following basic instructions are then given to the group
for each instrument:
1. The rhythm guitar player is shown how to strum an open­
tuned guitar and how to change chords using the bare tech­
nique.
2. The lead guitar player is first taught string and fret num­
bers on the guitar. He then is given a transcription sheet (see
Table 1). This sheet gives him a choice of two notes (the major
and minor third of the chord) for each fret that the rhythm
guitar player plays. For example, when the rhythm guitar play­
er is playing an open chord (consisting of D’s and A’s), the
lead guitar player has the choice of playing an F (fourth string,
third fret), or an F# (fourth string, fourth fret).
3. The bass guitar players are instructed on how to imitate
the rhythm guitar by using their second string.
4. Sampler players also are given a transcription sheet (see
Table 2) which gives them a choice of two notes for each of
the rhythm guitar player’s frets. The names of the notes are
labelled on each key on the samplers.
The improvisation begins with the drum machine player
establishing the basic meter and repeating it continuously.
The rhythm guitar player, improvising a basic chord progres­
sion which fits the established beat, is added next. The trap
drummer adds on to the improvisation thereby developing a
repetitive rhythmic pattern. The lead guitar player improvises
next and eventually chooses his notes which he repeats con­
tinuously. The rest of the instrumentalists (electric bass and
sampler players) join in by imitating the rhythm guitar player.
Vocalists then take turns in improvising along with the in­
struments using the lyrics to the chorus. This continues until
all vocalists agree on the melody they like the most.
Once the basic rhythm, harmonic progression, and melody
are established, students playing the lead guitar, bass guitars,
18 Music Therapy Perspectives (1990), Vol. 6

Table 2 Group 1
Sampler Player’s Transcription Sheet
This group exhibited difficulties in step 3, Theme and Style
Selection. Initially group members were not able to compro­
Rhythm Guitar Frets Sampler Notes
mise on the style of their song. This group’s preferences were
open D or A
1st D# or A# divided between heavy metal and rap music. While processing
2nd E or B this inability to compromise, the underlying issue of racism
3rd F or C emerged. Discussion and problem-solving resulted in the
4th F# or C# group writing a song which combined both styles of music.
5th G or D
Group cohesiveness developed during the semester of ses­
6th G# or D#
7th A or E sions, and a strong feeling of group pride was exhibited during
8th A# or F their last session. Approximately two months after music ses­
9th B or F# sions ended, one of the group members told the therapist
10th c or G that the entire group now listens to both styles of music, the
11th C# or G#

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occurrence of which demonstrated progress in respecting
others.

Group 2
samplers, and drum machine are given opportunities to im­ Another group easily accomplished the first four steps, ap­
provise around their basic notes and rhythms. Improvisations pearing to exhibit care and concern for each other through
are then recorded, played back, and discussed, and changes compromises made; however, when it began playing its music
are suggested. This continues until the group agrees on the together, this group had a very difficult time achieving a co­
chorus to its song. The entire improvisational process is then hesive sound. Students found that they were not able to
repeated for the verses and the bridge to the group song. “front.” (pretend as though they were working together), once
Objectives. The music composition step enables students they began the phase of playing instruments. Issues of respect
to: and relationship development arose while listening to and
1. Develop and/or improve interpersonal relationships. analyzing their improvisations. Students commented that these
2. Subordinate their own needs for the good of the group. problems were the same problems they were having at their
3. Take risks and challenge themselves. living unit. After three two-hour sessions, which consisted of
4. Develop cooperation and leadership skills. both structured and free improvisational activities focusing
on both interpersonal and intermusical interactions within the
Step 6-Culmination group, they succeeded in creating their own song. When
Procedures. The final step begins with rehearsals in which comparing their first improvisation and their song, students
the song is analyzed in its entirety, and musical problem areas were able to recognize the progress they had made in the
are practiced. After several sessions, the group song is re­ amount of cooperation within their group.
corded and sometimes performed. Students then discuss the
entire Creative Group Songwriting process with regard to
issues that surfaced, progress made both by individuals and When comparing their first improvisation and their
within the group, and generalization that occurred outside of song, students were able to recognize the progress
the music therapy setting. they had made in the amount of cooperation within
Objectives. The final step of Creative Group Songwriting their group.
provides students with opportunities to:
1. Develop a feeling of group pride.
2. Achieve a sense of both personal and group competence.
3. Receive feedback and reinforcement for the entire Cre­
Group 3
ative Group Songwriting process.
Steps 1 and 4 brought out many issues and opportunities
Group Case Examples for individuals in this group. After listening to “Behind the
Creative Croup Songwriting has been used by the author Wall” by Tracy Chapman, which poignantly describes do­
in a residential treatment center for emotionally impaired mestic violence, one student said this song did not elicit any
male adolescents. The groups consisted of 12 students who feelingsin him. Thisstudent had built a wall toseparate himself
attended two-hour music therapy sessions over a period of from any feelings due to the many times he had been hurt in
eight weeks. The following three groups consisted of students his past. He said that not allowing himself to feel fear, anger,
varying both in age and in length of stay in the program. The or joy/love would protect him from feeling sorrow. His issue
effectiveness of each of the six steps in this process varied in was processed by the group, and he was able to realize what
significance from group to group. he was missing in life as a result of his fear of being hurt.
Creative Group Songwriting 19

Other students used the lyricwriting as a means of self­ Aprey, Z. R., & Aprey, M. (1975).Applied musictherapy:Collectedpaperson
expression. Issues of depression surfaced for one student when a technique and a point of view. London: Institute of Music Therapy and
Humanistic Psychology, International University.
composing his lyrics. After selecting the theme, “Wasted
Batcheller, J., & Monsour, S. (1972). Music in recreation and leisure. Dubuque,
Time,” he wrote, “When I think of how long I’ve been away IA: Wm. C. Brown Publishers.
from my family, it hurts. Every year I try to think of another Bennett, S. (1975). Learning to compose: Some research, some suggestions.
reason to live, but I’m running out of answers and reasons.” Journal of Creative Behavior, 9, 205-209.
This was the first time that this issue was discussed with this Berger, R. A. (1983). Songwriting: A structured approach. San Diego, CA: Beer
Flat Music.
adolescent. Other common issues of adolescence were also
Bitcon, C. (1976). Alike and different. Santa Ana, CA: Rosha Press.
brought out through lyric writing. Working on the same theme, Bruscia, K. E. (1987). Improvisational models of music therapy. Springfield, IL:
another student wrote, “You wasted years trying to find out Charles C. Thomas.
what you want and didn’t make a decision. You got frustrated Caplan, L. M. (1965). The disturbed adolescent and problems in his treatment.
with yourself and did something you knew you weren’t sup­ Journal of Music Therapy, 9, 92-95.
Davis, S. (1985). The craft of lyric writing. Cincinnati, OH: Writer’s Digest Books.
posed to do.” When rearranging his thoughts into lyrics, he
Ficken, T. (1976). The use of songwriting in a psychiatric setting. Journal of
wrote, “The time is getting near to forget all that you fear. Music Therapy, 13, 163-172.

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You are getting old, and your feelings are very cold.” Freed, B. S. (1987). Songwriting with the chemically dependent. Music Therapy
Perspectives, 4, 13-18.
Discussion Murphy, M. (1983). Music therapy: A self-help group experience for substance
abuse patients. Music Therapy, 3(1), 52-62.
The development of Creative Group Songwriting resulted
Pickow, P., & Appleby, A. (1988). The billboard book of songwriting. New York:
from a need to provide a success-oriented activity which fo­ Billboard Publications, Inc.
cused on self-expression and the development of group co­ Plach, T. (1980). The creative use of music in group therapy. Springfield, IL:
hesiveness for groups of emotionally impaired adolescents Charles C. Thomas.
who had no prior music theory experience or knowledge. Priestly, M. (1975). Music therapy in action. New York: St. Martin’s Press.
Redl, F., & Wineman, D. (1957). The aggressive child. Glencoe, IL: The Free Press.
Lyricwriting and improvisation were individually effective in
Ruppenthal, W. (1965) “Scribbling”in music therapy. Journal of Music Therapy,
reaching these goals. Seeking to answer the question of how 2, 8-9.
these two activities would complement each other if inte­ Schmidt, J. A. (1983). Songwriting as a therapeutic procedure. Music Therapy
grated lead to the development of this technique. Perspectives, 1, 4-7.
Sisson, L. A., Hersen, M., & Van Hasselt, V. B. (1987). Historical perspectives.
Research is needed to analyze the impact of the processes
In V. Van Hasself & M. Hersen (Eds.), Handbook of adolescent psychology
involved in Creative Group Songwriting. Specifically, are there (pp. 3-10). New York: Pergamon Press.
consistent differences in the qualities of music created by Swados, E. (1988). listening out loud. New York: Harper & Row.
groups in different stages of cohesiveness? Can improvisa­ Wascher, D. (1981). Contingent music activities to increase positive verbal
tional composition techniques along with lyricwriting tech­ responses about self. Voice of the lakes, 25(3), 22-29.
niques have a positive effect in developing group cohesive­
ness? Is there a correlation between the development of
cohesiveness in a group’s music and its development in the
group?

Conclusion
Creative Group Songwriting seems to be especially effective
in developing group cohesiveness, increasing self-esteem, and
providing an outlet for self-expression. Many group processes
are involved in this activity, and the success of each one pro­
vides students with a sense of belonging. Participation and
cooperation of all group members are essential in accomplish­
ing the group goal. Students show great pride in their group
when hearing the finished product.
This paper has provided one songwriting technique in which
students are given the opportunity to write their own songs­
both lyrics and music. It is hoped that clinicians will adapt and
refine this technique in order to help develop therapeutic
environments in which significant growth and change can
occur.

REFERENCES
Adams, R. T. (1986). Electronic music composition for beginners. Dubuque, IA:
Wm. C. Brown Publishers.