and Influences of My Songwriting
Throughout history, music has played an invaluable role in communicating emotions, traditions, and ideas. Rightfully called the universal language, music serves as an outlet for creative communication from musician to listener. While focusing on the genres of singer-songwriters, I will deconstruct and examine my own songwriting tendencies and characteristics relative to my influences. Using three of my original songs, Let Me Go, One Step Closer, and So Lost, I will touch upon song form, metaphorical language, and production value and how they relate to my influences. I wear my heart on my songs and aim to use my talents to reach others through them. Through form, content, and recording, I strive to convey my ideologies and messages to my listeners through my own mirror.
- Let Me Go – Every night I’m sleeping next to the chains I adore/And every time I’m thinking about how I want so much more (Stephens: 2013)
- Machine Gun – Tell me off in a letter completely ignore me/Getting high off of saying why you don’t adore me (Bareilles: 2010)
- Come Back When You Can – I’ve been led on/To think that we’ve been trying for too long (Barcelona: 2009)
- Come Home – Hello World, I hope you’re listening/Forgive me if I’m young, for speaking out of turn/But there’s someone I’ve been missing/And I think that they could be the better half of me (OneRepublic: 2007)
- Let Me Go – I’m tired of pretending that I’m happy when I’m not/I'm tired of convincing myself it will get better when it wont/I don’t want to be in between my life, my dreams, and you/I don’t want to be in between living and loving you (Stephens: 2013)
- Machine Gun – And drag me down, sight set proudly/Bring me to the ground see/You love to be somebody’s enemy (Bareilles: 2010)
- Come Back When You Can—Oh you look good with your patient face and wandering eyes/Don’t hold this war inside (Barcelona: 2009)
- Come Home – In the wrong place trying to make it right/And I'm tired of justifying/So I’ll say to you (OneRepublic: 2007)
- Let Me Go – Let me go, turn over forget where I lay/Let me go, I promise it wont hurt one day/Let me go, close your eyes and I’ll slip away (Stephens: 2013)
- Machine Gun – Maybe nobody loved you when you were young/Maybe boy when you cried nobody ever come/Will you try it once, give up the machine gun, machine gun (Bareilles: 2010)
- Come Back When You Can—Oh, come back when you can/Oh, Let go you’ll understand/You’ve done nothing at all to make me love you less/Oh, come back when you can (Barcelona: 2009)
- Come Home – Come home, come home, I’ve been waiting for you for so long, so long/Right now there’s a war between the vanities all I see is you and me/The fight for you is all I’ve ever known/So come home (OneRepublic: 2007)
- Let Me Go—What we had was great but it isn’t enough, its not enough/And I cant ask for changes when I know you give me all of your love/So how much time must pass by before I find the strength to say goodbye/I cant lie and I wont be blind to the emptiness I feel inside (Stephens: 2013)
- Machine Gun—Locked and loaded you practically floated away now/In your fortress you feel like your more or less safe now/But let me say I don’t mean harm/Oh but baby, you’d be charming if you’d come undone/Get back where you started from (Bareilles: 2010)
- Come Back When You Can— You left your home/You’re so far from everything you know/Your big dream is crashing down and out your door/Wake you and dream once more (Barcelona: 2009)
- Come Home—I get lost in the beauty of everything I see, the world ain’t half as bad as they paint it to be/If all the sons and all the daughters stop to take it in/Hopefully the hate subsides and the love can begin/It might start now/Maybe I’m just dreaming out loud (OneRepublic: 2007)
All those specifics [who, what, when, and where] you learned to wade into can be even more interesting if they’re not only what they are, but become more than they are—they can transform or be transformed if they are seen through the lens of another idea (2011: 49).
Without conceptual metaphors…we would have no way of talking about—or even thinking about—abstractions like love, beauty, suffering, and joy…Metaphorical thinking creates a kind of conceptual synesthesia…The abstract is understood in the context of the concrete, the metaphysical in the context of the physical, the emotional in the context of the biological. Through metaphor, body and mind are inextricably intertwined (2011: 91-93).
The paradox of metaphor is that it tells us so much about a person, place, or thing by telling us what that person, place, or thing is not…A metaphor is both detour and destination, a digression that gets to the point (Geary, 2011: 12-13).