Communication is identified as one of the unique features that distinguish people. Through communication, people find ways of sharing their intentions and emotions. As Werner (2012) explains, communication plays an even more important role in relaying meaning despite the mutual incomprehensibility of the parties in conversation. DeWall et al. (2011) identified music as one of the powerful communication means. In so doing, the authors explain how ancient cultures used music to communicate, and the subsequent transformation that music has undergone within these cultures. Whereas poets acknowledge the ability of music to express things that seem inexpressible through words, psychological scientists and researchers have demonstrated the ability of music to connect with the emotions of audiences. In all this, music is portrayed as a powerful tool that facilitates the culture through communicating stories, emotion and movements.
Different communities are bound by different identities. This was the predisposition of Sammler et al. (2010), who cited lyrics and tunes as some of the identities that define cultures and communities. The authors further argue that not many people fully understand that music is part of their existence. The underlying meaning of music has been explored from the lenses of the relationship that music shares with human emotions and well-being (Brandt, Gebrian and Slevc, 2012). Many contemporary philosophers of mind theories of well-being and emotions have elucidated that the ability of music to communicate meaning has been the bedrock of the emotive responses that humans exhibit towards this intrinsic form of communication.
As music is regarded among masses as an effective communication means, the role that lyrics have played in enhancing the function of music in communication is yet to be studied extensively (Böhm, Ruth, and Schramm, 2016). There are several devices that are employed in music, each with its unique set of abilities to communicate with the audience. Lyrical devices are among the devices that function as intentional objects for the purpose of communicating meaning across the diverse music styles embraced by different cultures around the world. Inasmuch as the research in the field of music as a tool of communication has grown tremendously over the past centuries, Ahmadi (2011) observes that patterns of vast underutilization of the opportunities provided by this immense growth are still witnessed when exploring the role that lyrical devices play in enhancing communication in music, as opposed to poetry.
Research Question
The ensuing gaps in literature and knowledge of the role played by lyrical devices in songs forms the foundation of this paper. Therefore, this paper attempts to answer the following research question.
Q: How are lyrical devices used to communicate meaning in songs?
Aims of the Study
The purpose of this study is to explore how lyrical devices are used to communicate meaning in song. In so doing, the paper provides a brief description of the each lyrical device discussed and consequently sets to examine how the device enhances the communication of meaning in songs. The paper draws extensively from the available literature in music, more so with respect to studies that have examined the application of specific lyrical devices in music. Towards the end, the paper explains how the lyrical devices have enabled songs to foster the connection between the artist and the listeners, thus building the dual channel that distinguishes songs as tools for communication. Given the commonality and accessibility of music, the relationship between lyrical devices and the ability of songs to communicate meaning edifies the far-reaching impact that music plays.
Word Count for Introduction: 578 words
Methodology
The study adopted a qualitative research methodology in which information was collected using secondary techniques and relayed in the comparative and argumentative literature section of paper. The study utilised peer-reviewed journal articles retrieved from the largest online journal databases. Once the databases had been selected, a comprehensive search on the relevant journal articles began. In identifying the journals, the key words music, songs and lyrical devices were typed into the databases and the subsequent search results obtained. The search was further refined by looking for specific peer-reviewed journal articles on specific lyrical devices and their application in music and songs. From the resultant search process, each study was subjected to scrutiny to evaluate its applicability in the current study based on the elements of the inclusion criteria such as the relevance to the topic of research, the recency of publication date, the academic credentials or institutional affiliations of authors, possibility of bias among authors and the generalizability of each study finding. The inclusion criterion was that the articles were required to have been published not more than ten years earlier and that the authors should display no biasness that could jeopardise the results. The results from the article selection process provided 65 journal articles drawn from three main journal databases including JSTOR (Journal Storage), Springer Link and World Cat. The date of publication was then used to select articles that were used in the study. Consequently, 20 articles were selected and used in developing the literature review.
Word Count for methodology: 247 words
Literature Review
The dynamic ability of songs to influence emotion has well been studied. According to Negus and Astor (2015), music is a significant tool that is used in expressing the things that cannot be expressed using words and cannot be left silent. The words used in songs are the main element that artists use in communicating meaning and eliciting emotions. In their study, Mesaros and Virtanen (2010) challenged researchers to prove the ability of music to communicate meaning and elicit emotions in the absence of words. From this context, the authors argue that lyrics are the primary tenet of songs that communicate meaning. However, it remains unclear how exactly lyrics are employed to facilitate this function given that lyrics are not studied as music despite being a constituent element of songs.
Inasmuch as lyrics remain underexplored as components of songs, existing literature reveals the unanimity of purpose in the definition and identity of lyrics. Quoting researchers from diverse disciplines, Chou and Lien (2010) established that lyrics have been defined as the words set to music. The differences in the definition, however, arise when the researchers admit that it is increasingly difficult to define music given the revolution of the song styles and introduction of new song genres. Therefore, lyrics are intertwined with music, as they are words that are placed to a melody. This symbiotic relationship is denoted when lyrics and song support each other to develop an experience that would not be similar in the absence of either aspect.
Over time across generations, Gritsenko and Aleshinskaya (2016) observe that lyrics and songs have been part of each society. For instance, lyrics have been used to communicate and memorise psalms and religious passages in the ancient Greece. Centuries later onto the early 1960s, lyrics were used to communicate meaning through protest songs. These are some of the examples that prove the historical application of lyrics in communicating meaning for humans. Besides, Allis (2017) adds that one core function of songs is to communicate despite the many functions that music plays. Even as proof of the relationship between lyrics and communicating exists throughout the history of humans, the gaps in literature regarding the role of lyrical devices in facilitating this function depict a partial understanding of how songs communicate meaning.
Allis (2017) hypothesised that if the purpose of music is communication, then songs must demonstrate how their components enhance communication by relaying meaning. Lyrical devices, also referred to as poetic devices, have been employed in songs to communicate meaning. As defined by Pettijohn and Sacco (2009), lyrical devices are the techniques that are used in songwriting to produce specific effects. The author adds that many lyrical devices enable the reader, artist or listener to focus on particular phrases and words. For a long time, songwriters have used these techniques to articulate their points, though the influence of lyrical devices on listeners of songs has not been measured. This was proven in the study by Mori and Iwanaga (2013), who explored the effects that sad lyrics have on the emotions that are provoked by happy music. The authors describe that it is difficult to measure lyrics separately from music. For the purpose of this literature review, a number of lyrical devices will be discussed in the context of the role that they play in communicating meaning in songs.
Alliteration
In many instances, people often do not realise that they are using alliteration in communication. Alliteration is a lyrical device that originated from the word “latira”, which means the letters of the alphabet in Latin dialect (Salley, 2011). This lyrical device is identified as a figurative language style that deals with the sounds made by words that comprise letters within a phrase. Alliteration is made up of a combination of three or more words that have similar consonant sounds within the same phrase or sentence. In songs, alliteration is the repetition of the initial consonant sound. To facilitate the creation of alliteration, songwriters often repeat the same consonant sound in a sequence of beginning several words or phrases.
Typically, alliteration has been used in songs to create flow (Negus and Astor, 2015). Whereas other lyrics employ alliteration in developing harmonious sounds, there are instances when this lyrical device is used to portray a deeper meaning. In song lyrics, alliteration not only provides the flow but also enables the artist to recall the lyrics.
In the song “Human Nature” Michael Jackson sings “…Hear Her Voice, Shake My Window, Sweet Seducing Sighs….” In this instance, the initial consonant sound “s” is an example of alliteration. In this song, the artist talks about forbidden love and uses alliteration as a lyrical device to assert the meaning of the song.
Assonance
Though widely used in poetry, assonance is a lyrical device that has been employed to enrich songs not just by creating flow but by communicating meaning as well. Assonance refers to the repetition of similar vowel sounds (Altieri, 2017). In songs, assonance is created when words conjoined in sequential format repeat a similar vowel sound but begin with different consonant sounds. Therefore, assonance is identified by beginning with a difference in the consonant sounds but sharing similar vowel sounds.
Assonance has been used to communicate meaning in songs. An example to prove this observation is drawn from the song “With Love”, which was sang by Irish rock band Thin Lizzy. In this song, the artistes sing, “I must confess that in my quest I feel depressed and restless.” The repetition of the vowel sounds “ess” in the words confess, quest, depressed and restless play a significant role in adding the element of rhythm to the song. However, this assonance has a deeper meaning. The sound of the long vowels asserts emphasis on the atmosphere of gentleness amidst fright that the song depicts. Assonance plays an important role in enhancing the musical effect and promoting the continuity of prose. Through assonance, songs communicate meaning by creating a particular mood that corresponds with the topical issue on which the song is based.
Consonance
Whereas alliteration is the repetition of initial sounds at the beginning of sentences or phrases, consonance is the repetition of consonant sounds that are found either at the end or in the middle of phrases. Besides, consonance is different from assonance, which is the repetition of vowel sounds that are similar in a phrase (McCreary, Miles and Grazier, 2013). As a lyrical device, consonance manifests as a repetitive sound that is produced when consonants within or at the end of a phrase are repeated in rapid succession.
Similarly to assonance, consonance was initially used in poetry but has since been identified as a lyrical device in songs, as demonstrated in the study by Pettijohn and Sacco (2009). Beyonce, who is regarded as one of the best pop artist, has stylistically employed consonance in many of her songs. In the hit song “Singe Ladies”, the artist sings “I got gloss on my lips, a man on my hips….” thus putting emphasis on the sound “s”. She goes further, “I need no permission, did I mention, don't pay him any attention”, in this instance repeating the “sion” sound. From these examples, the artist is seen to develop rhyme in the lyrics, but a deeper look at the lyrics reveals that she used the consonance device to communicate meaning by creating a musical effect to enhance the recitation and mastery of the lyrics.
Cacophony
Cacophony refers to the combination of unpleasant sounds. As a lyrical device, cacophony is evidenced when inharmonious and harsh sounds are mixed. Many times, artists achieve cacophony by mixing unmelodious words denoted by hissing, harsh and sharp sounds, which mainly are consonants. Whereas many people think that unpleasant sounds are used unintentionally or appear accidentally in songs, deeper scrutiny reveals that this lyrical device is employed with the intent of creating an effect that purposefully communicates with the listener (Altieri, 2017). Cacophony is the opposite of euphony, which is the use of harmonious and pleasant effects. On one hand, cacophony in lyrics communicates unpleasant feelings while on the other hand, euphony communicates meaning of harmonious feelings.
The song “One step at a time” by Jordin Sparks is a perfect example of a song that employs cacophony. At the beginning of the song, the listener is presented with sounds that depict the everyday life. The song amalgamates different sounds that typify a busy street in the city before the distinct sound of a person presumably walking is heard. As a listener, the presentation of a busy city street creates the illusion of everyday life, and the song uses cacophony to communicate the need for the listener to take a step at a time while navigating the challenges that characterise everyday life. Cacophony is a lyrical device that is used in songs to develop a picture of unpleasantness or the uncertainty of certain situations that the singer goes ahead to describe using lyrics.
Metaphors
Many researchers have limited lyrics to the sounds that are presented in songs. However, Howard (2012) writes that there are several literary devices that have been used to perform similar functions as lyrical devices in music. Metaphors are among the literary devices used in song lyrics to act as lyrical devices. According to Pannese, Rappaz and Grandjean (2016), metaphors refer to the comparison between two unlike things that are connected by a unique element that they have in common. This lyrical device is a figurative speech tool that does not use words such as “like” to express the similarity between the two unlike things.
In songs, metaphors can be used to communicate meaning by creating a comparative illusion in the mind of the listener or audience. Many songs have employed metaphors to redefine their explanation about topics or issues that have been chronicled throughout the music history such as love and beauty (McCreary, Miles and Grazier, 2013). In many instances, musicians have referred to beautiful or kind people in their lyrics with such words as angels. Ed Sheeran, in the love song “Perfect” describes a woman using the metaphor angel in the lyrics “Now I know I have met an angel in person, she looks perfect”. As is well known, an angel is a superhuman creature, mostly used to refer to a messenger of God. However, the goodness and kindness at heart that distinguishes angels has been used to metaphorically describe people in song lyrics. Metaphors communicate meaning by sharpening the imaginations of the audience and arousing the senses of the listeners towards the magnitude of what the song is depicting.
Onomatopoeia
In many instances, people tend to pick up a tune from a song that they simply hum while going about their duties. These small tunes that strikes and stay in the mind of a person unknowingly is onomatopoeia. Onomatopoeia is a word that imitates the natural sound that is produced by something (Masui, 2013). Other than enhancing the description through mimicking the sound effects of the thing under description, onomatopoeia makes songs more interesting and expressive.
Over time, onomatopoeia has been used in songs to relay different emotions and meanings. The recent hit song “Roar” by American pop diva Kate Perry is an example of how onomatopoeia can be used as a lyrical device to communicate meaning in a song. At the beginning of the song, a jungle setting is presented, with a girl lost in it. In the course of the song, the artist sings, “Louder louder than a lion, ‘coz I am a champion and you’re gonna hear me roar.” At this point, the artiste begins to make sounds that imitate the roar of a lion.
The words used in onomatopoeia communicate meanings in song by helping the audience to reflect upon the sounds that they hear (Masui, 2013). Consequently, the listener is psychologically carried into the world of the singer through the help of these sounds and words. The significance of onomatopoeia is reflected in the effect that the sounds have on the senses of the listener. For example, the rendition of the song by Kate Perry sold over 10 million copies across the world.
Personification
Widely regarded as an element of figurative speech, personification has emerged as one of the important lyrical devices used in songs. As defined by Salwa and Liskinasih (2016), personification refers to a figure of speech where something or an animal is provided with a personality that describes it as human. In songs, abstractions and inanimate objects are endowed with abilities and qualities of humans to achieve personification for obvious purposes of communicating meaning. When non-human things are personified, the listeners obtain a feeling that these things possess the abilities and qualities to act like people.
Bruce Springsteen in the song “It’s Hard to be a Saint in the City” exemplifies personification when he says, “When I strut down the street I could feel its heartbeat.” The artist personifies the city by giving it a heartbeat, meaning that the city is alive just like humans. The use of personification in this instance describes the link that the artist has with the city and the closeness that he has with it.
Unlike other lyrical devices discussed in this review, personification is not a stylistic device that is used to achieve the decorative qualities of songs. Instead, as Howard (2012) writes, personification provides the song with a deeper meaning by asserting the element of vividness to the lyrical connotations. This lyrical device communicates meaning by incorporating the tendency that people have to look at the world from a holistically human perspective. Furthermore, personification enables singers and songwriters to justify their emotions and actions as through it, a better human understanding is developed. Indeed, this explanation justifies the position taken by Salwa and Liskinasih (2016), who posited that personification and other lyrical devices such as hyperbole and juxtaposition assist in boosting the creativity and intellectuality of the listener.
Word Count for Literature Review: 2,314 words
Conclusion
In this paper, it has been established that there is limited awareness on the ability of lyrical devices to communicate meaning despite the intensified research on how music performs this function. Therefore, the clear research gap is on the role that lyrics play in enhancing the function of music in communication. In a bid to bridge some of the existing gaps in literature, the paper identifies lyrical devices as the techniques that are used in songwriting to produce specific effects. With the growth of music, lyrical devices have expanded to include literary devices.
This literature reviews focuses on some of the most widely discussed lyrical devices that are used in music, including alliteration, assonance, consonance, cacophony, metaphors, onomatopoeia and personification to answer the question as to how lyrical devices are employed to communicate meaning in song. In songs, alliteration is the repetition of the initial consonant sound while assonance is created when words conjoined in sequential format repeat a similar vowel sound but begin with different consonant sounds. In addition, consonance has been defined in the paper as the repetition of consonant sounds that are found either at the end or in the middle of phrases, with cacophony being the combination of unpleasant sounds in songs.
From the literature review, it emerges that lyrical devices have different ways in which they communicate meaning in songs. Some lyrical devices such as alliteration communicate meaning by making it easier for the listener to remember the sequence of sounds. On the other hand, assonance communicates meaning by creating a particular mood that corresponds with the topical issue on which the song is based while cacophony performs its meaning communication function by developing a picture of unpleasantness or the uncertainty of certain situations that the singer goes ahead to describe using lyrics. Consonance communicates meaning by creating a musical effect to enhance the recitation and mastery of the lyrics. Other than rendering beauty and flow to songs, the lyrical devices that mainly use vowel and consonant sounds convey meaning by creating a particular mood that corresponds with the topical issue on which the song is based.
This discussion also focuses on literary devices such as metaphors, personification, and onomatopoeia that are used as lyrical devices. Whereas metaphors communicate meaning by sharpening the imaginations of the audience and arousing the senses of the listeners towards the magnitude of what the song is depicting, onomatopoeia communicate meanings in song by helping the audience to reflect upon the sounds that they hear. Additionally, this paper establishes that personification communicates meaning in songs by incorporating the tendency that people have to look at the world from a holistically human perspective.
Given the commonality and accessibility of music, the relationship between lyrical devices and the ability of songs to communicate meaning edifies the far-reaching impact that music plays. However, more research needs to be done to strengthen the proof that lyrical devices play an integral role in communicating meaning in songs.
Word Count for Conclusion: 493 words
References
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