This article’s intent is to provide insight into the author’s personal songwriting
journey and its influence on the creation of
This article’s intent is to provide insight into my personal songwriting journey and its
influence on the creation of
While music is now my job, as a teenager it was my obsession. I learned and played as much as I could, but my favorite aspect was listening and creating. My adolescence spanned the early to late 2000s, in which music became easier to access through online streaming, file sharing, and social media. Unlike previous generations, my music consumption was not bound by the determined hit songs on the radio or the available inventory at CD stores. The evolution of the internet and the privilege of owning a computer at home afforded access to any artist or genre, whenever I wanted, with a few mouse clicks at home.
While I consumed a wide variety of genres, I was most drawn to indie and alternative rock. My favorites were Dashboard Confessional, Red Jumpsuit Apparatus, Jack’s Mannequin, and Ben Folds. These artists did not appear to fit into the “pop” image or sound, which is presumably why most of their music was not topping the charts every week. Their songs were unabashedly honest and did not always follow the standard form and style, hence being classified as either alternative (to said standard) or indie (for being independent of a major label). This was something I resonated with. I felt an authenticity and vulnerability from these artists, which was especially evident in their lyrics.
These lyrics had emotions, imagery, and wordplay. I listened to songs over and over
again and analyzed lyrics to figure out what the writer was feeling or trying to
express. By doing this, I felt very connected to the writers and artists. I could
identify and empathize with what they were going through, even if I did not know them
personally. It was validating to realize that I was not the only one who felt the way
I did. It was almost as if these writers and artists understood me, and that I
equally understood them. Like most adolescents, “music played a central role” in
helping me “work through and explore challenges” (
The validation from these artists through their music inspired me to start songwriting for myself. I thought that if I expressed myself, maybe others could identify with the same sentiments. There were already stacks of journals and diaries scattered around my room. In these pages were my thoughts, emotions, and dreams, just waiting to be put into song. I began by substituting lyrics to my favorite songs. Then I started to learn the song forms and chord progressions they were using. From that I began to create new melodies and lyrics to fit within those structures. Eventually I felt confident enough to create and record my own music from scratch to share with others. In comparison to the audio quality of software today, these recordings were mediocre. Despite this, my newfound hobby of songwriting gave my teenage self a sense of purpose and identity.
What I did not realize at this point in my life was that I would be going into music therapy, a profession in which songwriting is an important skill. I was certain that I was going to major in music business, find a day job in the industry, and write and perform songs at night until I became a star. While looking at various college programs, I came across music therapy in a music department catalogue. I quickly dismissed it, but a few months later, I came across a segment about the profession on TV that sparked my interest to learn more and eventually find a program to apply for. I did not know that the connection that I had felt through songs could actually be used for more than just leisure or fame. During my undergraduate courses, I learned that the process and product of creating could be used to support people in their healing, growth, and change. We were given songwriting assignments and I greatly enjoyed the challenge of them. Crafting music and words was a fun experience for me. My peers’ experiences, on the other hand, varied from mine. Many of them found the assignment to be daunting and felt discouraged. I often noticed that they would turn in songs that they were not happy with, and, due to these experiences, were not motivated to continue to write unless it was required for a class.
Later in graduate school, and my first few years as a professional, I saw the same
struggles. Although songwriting is a part of music therapy curriculum across the
country, the task remains daunting for students during and after a songwriting
assignment in their coursework. There seems to be a desire to be “good” at it, but,
from my own personal experience and literature reviews, many students and
professionals do not think they have enough skill or are scared to share their songs
with people (
Experiential learning is an essential approach to music therapy education, training and supervision for many reasons. First and foremost, music therapy is an experiential modality. Its basic premise is that engagement of the client in a music experience provides the foundation or impetus for therapeutic change … The most effective way for music therapists to learn how music therapy works is to experience it themselves. (p. 66)
Unfortunately, not all programs can afford to offer experiential learning within the
curriculum, or not all educators agree “such learning is useful or appropriate at
undergraduate level training” (
While writing in a journal is beneficial to any student’s growth, a journal
specifically for songwriting is particularly valuable for music therapy students. Not
only is songwriting listed in the American Music Therapy Association’s professional
competencies (2.1 and 4.2;
The self-exploration section consists of logs about current feelings, being, and relationships. The life stages section consists of logs about past and current periods in life. The emotional expression section consists of logs about joy, anger, sorrow, and love. The music section consists of logs based on musical elements of melodic theme, rhythmic theme, lyric substitution, and electronic loops. The clinical population section consists of logs about mental health, hospice, pediatric hospital, and school settings. As the sections progress, the directions decrease, giving students more freedom to explore songwriting.
Though I learned much about myself through journaling and songwriting during my
adolescent and young adult years, there is still new emotional and mental territory
to explore. As I grow and change, so does my understanding and expression of self. In
this section, I will share personal entries and songs from
The first log I completed was
I feel like I’ve been in an incubator for the past year or so. Wanting to get out, but maybe not being ready or able to handle it. Maybe not “not able” … I am able. Just maybe having precautions about leaving or moving. I was a premature baby, so I have a bit of a penchant for wanting to get out into the world first and then having to wait and be patient with myself.
For the song, I used an acoustic guitar and wrote in the key of A. An audio
recording of the final song, entitled “Incubator.” is available at
Another log I completed was
Connecting with and loving people has never been hard for me. I have an inherent care and wish for well-being for people. “Agape” in Greek, if you will. But romantic (Eros), has been hard. So, whenever I say it in that sense, I have to really mean it. I don’t say it unless it truly is the case. Nor do I want someone to say it back unless it’s really meant. The most recent person in my life getting to that point and sense never said it back. And I’m glad for the honesty. I thought he would get to that point of meaning, but before he did, we realized maybe we shouldn’t. Learning to unlove a person sucks.
For the song, I used a piano and wrote in the key of C. An audio recording of the
final song, “I Shouldn’t Ask.” is available at
As noted in
While the journal’s present form is tactile and compact, my future aspiration is to expand into a low-cost e-book version to allow for increased accessibility, digital distribution, page extraction, and physical printing. The e-book format would include a fillable PDF or document format to allow its users to type up, instead of write out, their reflections and songs. In addition to expanding the format, I hope to expand its content in both culture and language. Created in the context of an American music therapy program, the content of the journal lends itself to Western music styles. While multi-cultural courses aim to teach on the influences of history and traditions on cultural styles from around the world, writing presents a different challenge from understanding and learning repertoire. I would like to learn from and collaborate with music therapists who come from different backgrounds than myself and/or speak and work in non-English speaking areas. With these collaborations, my hope is to work together to develop different iterations of this journal. The iterations would include publications in primary languages or dialects of a country or region that are inclusive of the pop musical styles and approaches of its culture, as well as a comprehensive version, combining the diverse iterations and gearing it towards western music therapists striving for cultural humility in their therapeutic songwriting work.
Currently,
Gabrielle Banzon is a music therapist currently residing in Atlanta, GA. She received her Bachelors in Music Therapy with a minor in Music Technology from Georgia College & State University in 2014, and her Masters of Arts in Music Therapy from Texas Woman's University in 2017. While she currently works with adults with various disabilities and acquired brain injuries, her other clinical interests include songwriting, music production, mental health, community approaches, and theories/philosophies. She currently serves on the International Relations Committee for AMTA, manages and co-hosts Clinical BOPulations the podcast, and presents regionally and nationally.