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“LOVING ME and MY BUTTERFLY WINGS:” a STUDY of HIP-HOP SONGS WRITTEN by ADOLESCENTS in MUSIC THERAPY a Dissertation Submitt

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“LOVING ME and MY BUTTERFLY WINGS:” a STUDY of HIP-HOP SONGS WRITTEN by ADOLESCENTS in MUSIC THERAPY a Dissertation Submitt “LOVING ME AND MY BUTTERFLY WINGS:” A STUDY OF HIP-HOP SONGS WRITTEN BY ADOLESCENTS IN MUSIC THERAPY A Dissertation Submitted to the Temple University Graduate Board in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY _______________________________________________________________________ by Michael Viega January 2013 Examining Committee Members: Kenneth Aigen, Advisory Chair, Music Therapy Cheryl Dileo, Music Therapy Edward Flanagan, Music Lisa Kay, Art and Art Education © by Michael D. Viega, 2013 All Rights Reserved i ABSTRACT The aim of this arts-based research study was to experience, analyze, and gain insight into songs written by adolescents who have had adverse childhood experiences and who identify with Hip Hop culture. This study investigated the aesthetic components of eleven songs including their musical elements, the compositional techniques, the affective- intuitive qualities, and the interaction between the music and the lyrics. An arts-based research design, rooted in the ethos of Hip Hop, was employed to gain a holistic understanding of the songs. My artistic encounters and subsequent analyses of the songs revealed the complex inner struggles and developmental challenges for adolescents who have experienced extreme trauma. Three groupings of songs emerged: Songs that Protect Vulnerability, Songs of Abandonment, and Songs of Faith and Love. Each category reflects a different stage of developmental growth for the songwriters. Employing Fowler’s (1981/1995) stages of faith development, a music-centered developmental model of therapeutic songwriting with adolescents is proposed in this study. This model consists of three therapeutic songwriting stages: Imitation, Developing Self-Reflection, and Developing Self-Love. The implications for this study include developing an arts-based method of song analysis for students and professionals, developing a music-centered therapeutic songwriting assessment, developing a perspective for music therapy practice and research rooted in the ethos of Hip Hop, and developing longitudinal arts-based research studies that track the life of songs across various stages of developmental growth. ii ACKNOWLEDGEMENTS This dissertation represents the culmination of knowledge that I have gained from my musical, clinical, and scholarly experiences, from my family, friends, teachers, mentors who have supported and nurtured me, and from the clients who have inspired me. To my loving wife Cat Viega, thank you for your patience, understanding, and support throughout this process. You are a tremendous mother, woman, and my best friend. To my son, Graham Viega, you are an eternal source of joy and happiness in my life. To my Mom, Margaret Doyle, thank you for believing in me even when I doubted myself. To my brother, John Viega and stepdad John Doyle for your love and constant support. To my Doctoral Advisory Committee, thank you for your invaluable guidance and feedback, which led to the completion of this dissertation: To my chairman, Dr. Kenneth Aigen, thank you for your mentorship and musical kinship. It is hard to put into words the influence you have had on me; the song “Ripple” by the Grateful Dead comes close. To Dr. Cheryl Dileo, thank you for your vision to provide music therapy programming, like Hear Our Voices, for underserved communities in Philadelphia. Your belief in me has been humbling and I cherish your mentorship. To Dr. Edward Flanagan, your knowledge and expertise of popular music was invaluable to the completion of this dissertation. To the members of the reflexive team who lent their expertise to this study: To Dr. Felicity Baker, thank you for your groundbreaking work in defining and understanding therapeutic songwriting. I am grateful for our discussions and for the iii feedback you provided. To Dr. Jaleel Abdul-Adil and Dr. Lisa Kay, thank you for taking the time to provide sensitive and insightful reactions to these songs. To my fellow peers in the Doctoral Program who offered support, camaraderie, and feedback throughout the years: Andre Brandalise, Nadine Cadesky, Trish Winter, Heather Wagner, Heeyoun Cho, and Yuki Mitsudome. To the members of the Co-Pilots for offering me a place to make music, relax, and be with good friends: Scott MacDonald, Bryan Muller, Ari Pizer, and Adenike Webb. To all the musicians I have had the pleasure playing with, listening to, and basking in our mutual love of music: Kyle Averill, Jennings Carney, and Van Carney (Bubba Knute), Brice Woodall, Joshua Frattarola, VJ Hyde, and John Carpente. Your friendships and our musical moments together have been transformative for me. Finally, thank you to the adolescent songwriters whose songs I analyzed. Thank you for sharing your hopes, fears, life experience, and struggles within these recordings. You and your songs, have influenced me and impacted my life in innumerable ways, and for that, I am forever grateful. iv TABLE OF CONTENTS Page ABSTRACT…………………………………………………………….……………. ii ACKNOWLEDGEMENT……………………………………………….…………… iii LIST OF TABLES……………………………………………………………………. xiv LIST OF FIGURES…………………………………………………………………… xv LYRICS TO ORIGINAL SONGS……………………………………………………. xviii LYRICS TO REMIX COMPOSITIONS………………………………………………xix CHAPTER 1. INTRODUCTION………………………………………………………………… 1 Overview………..…………………………………………………………….. 1 Topic and Purpose……………………………………………….……………. 3 Source of Study……………………………………………….………………. 5 Personal Source………………………………………….……………. 5 Professional Source from which Data Emerged.……………………… 12 Research Questions………..………………..………………………………… 20 Limitations……………………………………………………………………. 21 2. LITERATURE REVIEW…………………………………………….…………… 24 Introduction…………………………………………………………………… 24 Topic-Related Literature……………………………………………………… 24 Adverse Childhood Experiences (ACE)…………………….………… 24 Music and Psychological Development in Adolescence...…….……… 26 Music and Identity Creation in Adolescents………………….………. 27 v Music Therapy and Hip Hop………………………………………….. 30 Therapeutic Songwriting and Adolescence…………………………… 32 Method-Related Literature……………………………………………………. 37 Arts-Based Research and Music Therapy…………………………….. 37 Music Analysis in Music Therapy.………………………….………… 39 3. DESIGN AND METHODOLOGY………………………………………………. 46 Overall Rationale and Approach……………………………………………… 46 Song Selection and Sampling Strategies……………………………… 47 Data Collection and Analysis.………………………………………………… 51 Materials and Setting for Data Collection.……………………………. 54 Methods of Data Collection and Analysis……………….……………. 55 Stages of Data Collection and Analysis………………………………. 61 Evaluation………………………...…………………………………………… 65 Aesthetic Evaluation…………………………………………………... 65 Authenticity Evaluation..……………………………………………… 66 Cross-Disciplinary Collaboration..……………………………………. 67 Ethical and Political Considerations…………………………………………... 69 4. INTRODUCTION TO THE RESULTS.…………………………………………. 71 5. RESULTS: SONGS THAT PROTECT VULNERABILITY..…………………… 73 Introduction…………………………………………………………………… 73 Song 1: Lost...…………………………………………………………………. 73 Introduction to “Lost”………………………………………………… 73 Musical and Stylistic Elements……………………………….………. 74 vi Compositional Techniques……………………………………………. 78 Affective-Intuitive Qualities…………………………………………... 79 Interactions between the Music and Lyrics....………………………… 80 Song 2: My Party...….………………………………………………………… 82 Introduction to “My Party”……………………………………………. 82 Musical and Stylistic Elements………………………………….……. 83 Compositional Techniques……………………………………………. 90 Affective-Intuitive Qualities………………………………………….. 91 Interactions between the Music and Lyrics…………………………… 92 Song 3: Reek Mugga………………………………………………………….. 94 Introduction to “Reek Mugga”…………………………………………94 Musical and Stylistic Elements………………………….……………. 94 Compositional Techniques……………………………….…………… 97 Affective-Intuitive Qualities………………………………………….. 98 Interactions between the Music and Lyrics…………………………… 99 Summary of Songs that Protect Vulnerability………………………………… 102 Musical and Stylistic Elements…………………………………….…..102 Compositional Techniques……………………………………………. 103 Affective-Intuitive Qualities………………………….………………..104 Interactions between the Music and Lyrics…………………………… 104 6. RESULTS: SONGS OF ABANDONMENT………………………………………106 Introduction…………………………………………………………………… 106 Song 4:Cryin’….……………………………………………………………… 106 vii Introduction to “Cryin’”………………………………………………………. 106 Musical and Stylistic Elements…………………………………….…..107 Compositional Techniques……………………………………………. 110 Affective-Intuitive Qualities…………………………………………... 112 Interactions between the Music and Lyrics…………………………… 113 Song 5: Emotional Disaster....………………………………………………… 114 Introduction to “Emotional Disaster”…………………………………. 114 Musical and Stylistic Elements………………………….……………. 115 Compositional Techniques……………………………………………. 119 Affective-Intuitive Qualities…………………………………………... 123 Interactions between the Music and Lyrics…………………………… 124 Song 6: Darkness....…………………………………………………………… 126 Introduction to “Darkness”……………………………………………. 126 Musical and Stylistic Elements…………………………….…………. 126 Compositional Techniques……………………………………………. 132 Affective-Intuitive Qualities…………………………….….…………. 135 Interactions between the Music and Lyrics……………….……………135 Song 7: Numb....………………………………………………………………. 138 Introduction to “Numb”………………………………………………. 138 Musical and Stylistic Elements……………………………….………. 138 Compositional Techniques……………………………………………. 143 Affective-Intuitive Qualities………………………….….……………. 145 Interactions between the Music and Lyrics…………………………… 145 viii Summary of Songs of Abandonment…………………………………………. 147 Musical and Stylistic Elements………………………….……………. 147 Compositional Techniques…………………………………………….
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