Investigations are difficult to apply because of the confounding variable of airplay and repetition. The memories are in the subject’s own words, not in the exact recordings. From the research Desmond performed, results showed that some memory does occur. Of particular important is Desmond’s claim that questions surrounding the memory of lyrics cannot be directly answered since lyrics are not carefully studied as texts, nor are they listened to with the intention of memorization. Desmond wanted to figure ou whether people understood and remember rock lyrics. Young people give music a central place in the most basic of their communicative activities (363-368, #371).ĭesmond explored lyrics in his study on adolescents and music lyrics. Music can be a symbolic weapon against human institutions. Adolescents use music as a way of identification. Adolescents use music as a strong influence in their attempt to resist the confines of their social environments. Musical expressions are meaningful symbolic messages. Lull says music is communication and music also affects communication. Lull states that music constitutes a core feature of life in some cultures. Irony declined and a return to ideal, if not overtly romantic, conceptions started emerging (124-126). The 70s became known as the decade of frustrated idealism. In this decade the percentage of ironic and leader-centered songs increased by 200 to 300 percent while romantic songs declined by 60 percent. The 60s were described as the decade of exploration.
Songs from this period were overwhelmingly focused upon romantic and mimetic. The late 50s was found to be the decade of innocence. Ironic, Mimetic, Leader-centered, Romantic, and Mythical songs reflected and revealed the persistent or enduring content of popular music between 19 (123). Seventy-five percent of those are bought by 12-20 year olds.Ĭhesebro found, that in the four decades, a substantive theme occurred in popular music. People under 30 years of age purchase 80 percent of popular records. Music is directed and supported by a particular audience.
Music which has a method for creating socially shared understandings is placed within the discipline of communication. Chesebro, Foulger, Nachman, and Yanneli studied music’s influence through four decades. The power of music results from it’s popularity. Music has been a dominate force in communication for many years. The first part appeared in the Winter 94-95, Number 11 issue of “A Show of Fans” a Rush fanzine for and by Rush fans. It was written as two parts in two different years of study. Author’s Note: This is a transcription of a college research paper from 1996 on Mythological Narrative Lyrics in Music for which I used the album 2112 by Rush.
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