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Songwriting As a Transformative Practice

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SONGWRITING AS A TRANSFORMATIVE PRACTICE: A HEURISTIC INQUIRY INTO THE SONGWRITER’S EXPERIENCE OF CREATING, RECORDING, AND PERFORMING ORIGINAL POPULAR SONGS by Hilary Frances Beech A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Clinical Psychology Sofia University, formerly Institute of Transpersonal Psychology Palo Alto, California May 15, 2014 I certify that I have read and approved the content and presentation of this dissertation: ________________________________________________ __________________ Christine Brooks, Ph.D., Committee Co-Chairperson Date ________________________________________________ __________________ Lisa Herman, Ph.D., Committee Co-Chairperson Date ________________________________________________ __________________ James Swan, Ph.D., Committee Member Date Copyright © Hilary Frances Beech 2014 All Rights Reserved Formatted according to the Publication Manual of the American Psychological Association, 6th Edition ii Abstract Songwriting as a Transformative Practice: A Heuristic Inquiry Into the Songwriter’s Experience of Creating, Recording, and Performing Original Popular Songs by Hilary Frances Beech This qualitative heuristic study explored the subjective experience of transformation resulting from the practice of songwriting. In semi-structured interviews, 6 men and 6 women, aged 35– 69, described their experience of songwriting and discussed 1 song whose composition and sharing had had significant personal impact. Participants were predominantly White, well- educated, and had spiritual orientations divergent from mainstream religions. They had written an average of 315.4 songs over a mean of 36.3 years. Thematic content analysis revealed 6 primary themes. Two foundations of the practice—Connecting (related to the process of songwriting) and Communicating (related to the content)—were directly transformative, while also enabling 4 other transformative outcomes: Wellbeing, Affirmation, Personal Growth, and Making A Difference. Participants reported a variety of cocreative and transpersonal experiences in the process of creating, recording, and performing their songs, arising from Connecting with cowriters, listeners, influences not physically present (e.g., other artists), and spirit. Songs afforded participants a language superior to speech for Communicating, which facilitated Expressing Feelings, Sharing Self, and Sending A Message. Personal Growth occurred through songwriting as a result of Processing Experience to make meaning of painful material, and gaining increased confidence and self-knowledge (Empowerment). Some participants reported Song Theme Evolution over their lifetime, moving from songs focused on iii personal catharsis to songs intended to inspire listeners. The most emphatically articulated theme was Making A Difference in others’ lives; songwriters were profoundly moved and validated to learn of the positive effects their songs had had on listeners. Life, songwriting, and transformation were difficult to separate, so integral was songwriting to participants’ lives. The findings strongly affirmed models of transformation in the expressive arts literature. Neither Ferrer’s participatory philosophy of spirituality nor Washburn’s triphasic model of transpersonal development was able to account for the full extent of songwriters’ reported experiences of psychospiritual transformation. iv Dedication To my parents, David and Judy, with love and gratitude for a lifetime of unwavering support v Acknowledgments I am deeply appreciative of the 12 songwriters who chose to participate in this study. I am moved and humbled by the trust they placed in me to represent their voices to the world, and by their generosity in sharing so much of themselves with me and honoring me with their songs. I hope that this dissertation adequately portrays their gifts, commitment, and passion. I would like to express my profound gratitude to my dissertation committee members for their collective wisdom and wonderful collaboration, which created such an ambience of teamwork and respect that I could pour all of my energy into the research, knowing that the process would run smoothly. I have enjoyed their support every step of the way on this unpredictable and challenging journey. They have modeled the very best in academic professionalism while allowing for a deep humanity to be present in the process. Dr. Christine Brooks agreed to chair my dissertation and embraced an unusually compressed schedule, providing rigorous input that invited me to stretch myself academically, and skillfully developing me as a researcher by asking me to take responsibility for each significant decision in the process. Drs. Lisa Herman and James Swan each nurtured my early interest in this topic long before I had committed to pursuing it. Lisa joined the committee as co-chair when the project was already well in motion, gently offering a valuable counterpoint to my initial formulation which immeasurably strengthened the quality of the final outcome. James seemed to possess a magical talent for offering precisely the right resource when I faced an impasse, and reminded me to situate this dissertation in the larger context of my life. I thank them all for their diverse contributions, commitment, and belief in me. I would like to acknowledge the many other members of the ITP community who were instrumental in this process. Drs. Susan Esterly, Glenn Hartelius, Arthur Hastings, Kay vi Kleinerman, Charlotte Lewis, Fred Luskin, Ron Pilato, Ryan Rominger, Nancy Rowe, and Jenny Wade each gave the gift of their time and deep experience with conceptualizing research to assist me in sifting through the many topics I considered for my dissertation. Dr. Genie Palmer, as director of the Dissertation Office, provided invaluable support in helping me to clarify my options and make good choices under pressure. Dissertation Office staff member and cohort mate Courtenay Crouch offered competent and cheerful advice for navigating the dissertation process. Library staff members Katrina Rahn, Lucy Erman, Yoko Noda, and Sharon Hamrick were resourceful and rapidly responsive to my requests for help. So many dear friends have been there for me along this path, nourishing me spiritually, emotionally, and physically, some for decades, others more recently as I neared the finish line. I offer my love and deepest thanks to Zar Aslam, Suzanne Bouchonnet, Carol Bratton, Cynthia Cauley, Rashmi Chidanand, Emme, Chuck Follis and Dawn Bieser, my aunt and uncle Pat and Alan Galer, Hélène and Didier Gans, Dave George and Amy Shaw, Lynn Gordon, Barbara Graves and Bruce Daniels, Vanessa Green and Roy Monk, the GSB MBA’91 Women’s Retreat Group, Joanna Hardinge, Andrea Lewak and Kaari Peterson, Thomas Marchevsky, Karen Melchior, Fi Monroe and Owen Davies, Louise Montello, Deb Mosca, Fabrice and Adelaide Nye, Pierre Patino, Maggie Pierce, Daniel Rhoda, Carmen Roman, Hilary Ann Salinger, Donna Schurr, Fanny Soulard, Ann Thiermann, Frank Topper, Scott Wagner, and Judy and Jerry Woods. I would like to thank those who have helped me to express my own voice through song, including Nanna Brincker, Shelly Franklin, Lorna Emata Goodwin, Luke Greenwood, Lisa Haupert, Andy Hospodor, Carrie Love, my band mates in the Midlife Crises and the Sticky vii Wickets, and Robert Ressler. The joy from singing and making music sustained me during this project in the most difficult moments. It was my brother John, an artist himself, who was the most pivotal link in the completion of this dissertation. In the midst of my despair at my inability to select a topic, he invited me to accompany him on an art-making trip. Over nightly dinners, and drawing on his own creative process as an example, he challenged me to set aside my fears and judgments and follow my passion. Without his timely intervention, artistic wisdom, honesty, and willingness to ask me the hard questions I was avoiding, I would most likely not have concluded this project nor earned my doctorate. My brother Roland showed an unflagging interest in the topic and the status of my process, peppering me with questions that helped me to articulate my learning and kept me motivated. My parents, David and Judy, likewise offered their unconditional support and encouragement. They have in common a curiosity about life and people, a commitment to significant projects, and tenacity in staying the course. Their example has surely been an inspiration in undertaking and completing this momentous task. And thanks to Heron and Hawk, I have learned to fly! viii Table of Contents Abstract .......................................................................................................................................... iii Dedication ....................................................................................................................................... v Acknowledgments.......................................................................................................................... vi List of Tables ................................................................................................................................ xv List of Figures .............................................................................................................................. xvi Chapter 1: Introduction ................................................................................................................... 1 Definitions........................................................................................................................
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