The songwriting coalface: where multiple intelligences collide

This paper investigates pedagogy around songwriting professional practice. Particular focus is given to the multiple intelligence theory of Howard Gardner as a lens through which to view songwriting practice, referenced to recent songwriting‐specific research (e.g. McIntyre, Bennett). Songwriting education provides some unique challenges; firstly, due to the qualitative nature of assessment and the complex and multi‐faceted nature of skills necessary (lyric writing, composing, recording, and performing), and secondly, in some less‐tangible capacities beneficial to the songwriter (creative skills, and nuanced choice‐making). From the perspective of songwriting education, Gardner’s MI theory provides a ‘useful fiction’ (his term) for knowledge transfer in the domain, especially (and for this researcher, surprisingly) in naturalistic intelligence

POETIC LANGUAGE IN NAZARETH’S “LOVE HURTS”

This study is concerned with how language is poetically used in one of Nazareth’s song lyrics, “Love Hurts”. The language encompasses a series of figures of speech. This study was performed as an alternative practice in teaching English poetry. Figures of speech intrinsically compose English poetry. Because the figures of speech contain implied meaning, they might not be easily meaningful to a reader of the lyric. This study is intended to describe the figures of speech so that the language becomes more understandable to the reader. This study applies a textual analysis, and it adopts Leech’s linguistic guide to English poetry. The linguistic guide includes absurdity in the language of poetry; transference of meaning; and over and counter statement. The discussion works on each of the lyric’s lines, and it results in the series of figures of speech, comprising oxymoron, paradox, synecdoche, metaphor, metonymy, hyperbole, litotes, and irony. The figures of speech indicate that the language is arranged to sweetly sound a melody. Besides that, the figures of speech indicate that the language is also used figuratively to contain the meaning. In other words, in the lyric, the language was used not only to be sung melodically, but it was also used to be written poetically