Analyzing Songs Used for Lyric Analysis With Mental Health Consumers Using Linguistic Inquiry and Word Count (LIWC) Software

Lyric analysis is one of the most commonly used music therapy interventions with the mental health population, yet there is a gap in the research literature regarding song selection. The primary purpose of this study was to determine distinguishing linguistic characteristics of song lyrics most commonly used for lyric analysis with mental health consumers, as measured by LIWC2015 software. A secondary purpose was to provide an updated song list resource for music therapists and music therapy students working with the mental health population. The researcher emailed a survey to 6,757 board-certified music therapists, 316 of whom completed the survey. Respondents contributed 700 different songs that they deemed most effective for lyric analysis with mental health consumers. The researcher used the LIWC2015 software to analyze the 48 songs that were listed by five or more music therapists. Song lyrics contained linguistic indicators of self-focused attention, present-focused attention, poor social relationships, and high cognitive processing. Lyrics were written in an informal, personal, and authentic style. Some lyrics were more emotionally positive, while others were more emotionally negative. While results must be interpreted with caution, it may be helpful to consider linguistic elements when choosing songs for lyric analysis with mental health consumers

Why Brilliant People Believe Nonsense: A Practical Text for Critical and Creative Thinking

The information explosion has made us information rich, but wisdom poor. Yet, to succeed in business and in life, we must distinguish accurate from bogus sources, and draw valid conclusions from mounds of data. This book, written for a general adult audience as well as students, takes a new look at critical thinking in the information age, helping readers to not only see through nonsense, but to create a better future with innovative thinking. Readers should see the practicality of enhancing skills that make them more innovative and employable, especially in a day when companies increasingly seek original thinkers, global visionaries, and thought leaders. Targeting high school seniors and college freshmen, but useful to all adult readers, the authors examine surprising and costly mental errors made by respected business leaders, entertainment moguls, musicians, civic leaders, generals and academics. Then, the authors draw practical applications to help readers avoid such mistakes and think more creatively in each field. Although written in an engaging and popular style, over 600 end notes provide authority to this content-rich document. Thus writers, researchers, teachers, and job seekers should find it a useful starting point for research into this important field. Home school teachers and public school educators will find an accompanying free website with lesson plans and teaching tips. It\u27s also a low-cost alternative to expensive texts. (The hard copy is priced reasonably and a pdf of the entire book will be offered free to students on their digital platforms.) Each chapter ends with thought questions and tips for further research.https://digitalcommons.kennesaw.edu/facbooks2015/1011/thumbnail.jp

Cumulative innovation and re-use under copyright

This dissertation explores (i) the effect of copyright on the reuse of prior works, (ii) the economic effects of reuse upon the original work, (iii) the impact of litigation and copyright assertions on patterns of reuse, and (iv) the effect of the expiry of copyright on the availability and supply of music through differing models of distribution. As a setting to explore these questions, I focus on the popular music industry and the phenomena of "digital sampling," where prior sound recordings are reused to create a new musical arrangement. This setting allows one to empirically track the use and reuse of information goods over time in a process of cumulative creativity, where new works of authorship build upon past works. The statistical results of this dissertation imply that copyright policy has con- strained cumulative creativity, even while reuse in this setting does not appear to cause economic harm upon original works, as reusing works do not empirically substitute for the originals upon which they are based. Rights assertions by copyright aggregators, however, does not appear to stifle reuse when the portfolios of rights aggregators are compared to other similar songs. The last set of results focus on copyright’s reuse through the re-releases of music, demonstrating that copyright expiration causes a dramatic increase in the supply of music, but these restrictions imposed by copyright appear to be mediated by new models for digital distribution of content and associated blanket licensing practices

"It's all life:" An exploration of the eloquence of embodiment in postwar adults

In recent years, the academic field of gerontology has developed a newfound interest in the body. A curiosity about temporality, in its many manifestations: chronology, generation, rhythmicity, pace, anticipation, and history, to name a few, is growing in the social sciences. To date, no one has tackled ageing bodies embedded and embodied in time. This thesis explores time, embodiment, and identity as people come to know, experience and conceive of the bodily ageing process. The cohort, coming of age in the sixties timescape were in the centre of a social rupture. That era starkly exemplifies the importance of time and identity but is, by no means, a stand-alone event. The multiple aspects of the temporal dimension profoundly influence our expression and experience of ageing embodiment and meaning as expressed through identity. Yet, ageing is also a universal human experience. The collective experience of the postwar generation including the Bomb and Cold War, Earthrise, music and dance, the Pill, and the liberation movements have influenced expressions of physicality throughout the lifetime of this cohort. For this cohort, the experience of these events is now influencing the meaning of embodied ageing and identity. Body, time and the times of the postwar cohort are explored in this thesis. The inclusion of the intersection of time and body adds to our understanding of ageing. Employing a systemic perspective and constructivist grounded theory methodology, this study reflects research that included rich interview data from a cross-class study of thirty adults born between 1945 – 1955. The study makes an original contribution to the field of social/cultural gerontology in its exploration of embodiment, time, and identity and the findings that result from that investigation. The concepts of deep time, relative time, and dynamic legacy in relationship to older people are illuminated as a result of this study

November 18, 1999

The Breeze is the student newspaper of James Madison University in Harrisonburg, Virginia

Remix

This book is available as open access through the Bloomsbury Open Access programme and is available on www.bloomsburycollections.com. Lawrence Lessig, the reigning authority on intellectual property in the Internet age, spotlights the newest and possibly the most harmful culture war-a war waged against our children and others who create and consume art. Copyright laws have ceased to perform their original, beneficial role: protecting artists' creations while allowing them to build on previous creative works. In fact, our system now criminalises those very actions. By embracing "read-write culture," which allows its users to create art as readily as they consume it, we can ensure that creators get the support-artistic, commercial, and ethical-that they deserve and need. Indeed, we can already see glimmers of a new hybrid economy that combines the profit motives of traditional business with the "sharing economy" evident in such websites as Wikipedia and YouTube. The hybrid economy will become ever more prominent in every creative realm-from news to music-and Lessig shows how we can and should use it to benefit those who make and consume culture. Remix is an urgent, eloquent plea to end a war that harms our children and other intrepid creative users of new technologies. It also offers an inspiring vision of the post-war world where enormous opportunities await those who view art as a resource to be shared openly rather than a commodity to be hoarded

The Anchor, Volume 97.13: December 5, 1984

The Anchor began in 1887 and was first issued weekly in 1914. Covering national and campus news alike, Hope College’s student-run newspaper has grown over the years to encompass over two-dozen editors, reporters, and staff. For much of The Anchor\u27s history, the latest issue was distributed across campus each Wednesday throughout the academic school year (with few exceptions). As of Fall 2019 The Anchor has moved to monthly print issues and a more frequently updated website. Occasionally, the volume and/or issue numbering is irregular

Troubling Disability: Experiences of Disability In, Through, and Around Music

abstract: The purpose of this study was to trouble existing conceptions of disability that ground music education literature and practice. I sought plausible insights into how disability is experienced in, through, and/or around music by participants who are disabled persons/persons with disabilities (DP/PwD). Insights gained might allow readers to complexify and trouble taken-for-granted assumptions about disability. Questions included: (a) How do participants experience disability in, through, and around music? (b) What plausible insights related to disability can be gained by attending to participants’ experiences of disability in, through, and around music? (c) What plausible insights related to inclusion can be gained by attending to participants’ experiences of disability in, through, and around music? The inquiry approach was grounded in Buberian relational ontology, phenomenology, interactional theories of disability, and narrative. Seven DP/PwD participated in this study: (a) Erica, a 14-year-old diagnosed with a developmental disability of unknown etiology; (b) Duke, a drummer diagnosed with Williams syndrome; (c) Birdie, an abstract visual artist with epilepsy who used music to inform her art; (d) Daren, a b-boy/breakdancer diagnosed with Tourette syndrome, (e) Sienna, a legally blind social work college student who played banjo in a music therapy-based bluegrass band and participated in musical theatre; (f) Ice Queen, an undergraduate flute player recently diagnosed with Attention deficit/hyperactivity disorder (ADHD); and (g) Culann, an adult counselor and music listener with ADHD and mood disorders. Data generation included conversational interviews, observations, artmaking, and serendipitous data. Data co-generated with participants were crafted into narratives of their lifeworlds, including description of their experiences with disability in, through, and around music and in other aspects of their lives. An envisioned conversation among all participants demonstrates the shifts and complexities in the meanings of disability and unpacks different ways participants describe and understand disability and the myriad roles that music plays in their lifeworlds. The final chapter of the study offers discussions and suggestions regarding thinking about and approaching disability (i.e., interactional theories, intersectionality, and identity), inclusion (i.e., belonging, suggestions by participants, and anti-ableist pedagogy), and research/writing.Dissertation/ThesisDoctoral Dissertation Music Education 201

Vista: February 19, 2015

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