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Theses and Dissertations--Music Music

2017

Analyzing Songs Used for Lyric Analysis With Mental Health Analyzing Songs Used for Lyric Analysis With Mental Health

Consumers Using Linguistic Inquiry and Word Count (LIWC) Consumers Using Linguistic Inquiry and Word Count (LIWC)

Software Software

Ashley M. Miller University of Kentucky, osprey.card@gmail.com Author ORCID Identifier:

http://orcid.org/0000-0002-5030-0584 Digital Object Identifier: https://doi.org/10.13023/ETD.2017.180

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Dr. Olivia Yinger, Major Professor

Dr. Michael Baker, Director of Graduate Studies

ANALYZINGSONGSUSEDFORLYRICANALYSISWITHMENTALHEALTHCONSUMERSUSINGLINGUISTICINQUIRYANDWORDCOUNT(LIWC)SOFTWARE

AthesissubmittedinpartialfulfillmentoftherequirementsforthedegreeMasterofMusicinMusicTherapyinthe

CollegeofFineArtsattheUniversityofKentucky

By

AshleyMarieMiller

Lexington,Kentucky

Director:Dr.OliviaYinger,DirectorofMusicTherapy

Lexington,Kentucky

2017

Copyright©AshleyMarieMiller2017

THESIS

ABSTRACTOFTHESIS

ANALYZINGSONGSUSEDFORLYRICANALYSISWITHMENTALHEALTHCONSUMERSUSINGLINGUISTICINQUIRYANDWORDCOUNT(LIWC)SOFTWARE

Lyricanalysisisoneofthemostcommonlyusedmusictherapyinterventionswiththementalhealthpopulation,yetthereisagapintheresearchliteratureregardingsongselection.Theprimarypurposeofthisstudywastodeterminedistinguishinglinguisticcharacteristicsofsonglyricsmostcommonlyusedforlyricanalysiswithmentalhealthconsumers,asmeasuredbyLIWC2015software.Asecondarypurposewastoprovideanupdatedsonglistresourceformusictherapistsandmusictherapystudentsworkingwiththementalhealthpopulation.Theresearcheremailedasurveyto6,757board-certifiedmusictherapists,316ofwhomcompletedthesurvey.Respondentscontributed700differentsongsthattheydeemedmosteffectiveforlyricanalysiswithmentalhealthconsumers.TheresearcherusedtheLIWC2015softwaretoanalyzethe48songsthatwerelistedbyfiveormoremusictherapists.Songlyricscontainedlinguisticindicatorsofself-focusedattention,present-focusedattention,poorsocialrelationships,andhighcognitiveprocessing.Lyricswerewritteninaninformal,personal,andauthenticstyle.Somelyricsweremoreemotionallypositive,whileothersweremoreemotionallynegative.Whileresultsmustbeinterpretedwithcaution,itmaybehelpfultoconsiderlinguisticelementswhenchoosingsongsforlyricanalysiswithmentalhealthconsumers.KEYWORDS:LyricAnalysis,MusicTherapy,MentalHealth,SongSelection,LIWC

AshleyMarieMillerApril28,2017

ANALYZINGSONGSUSEDFORLYRICANALYSISWITHMENTALHEALTHCONSUMERSUSINGLINGUISTICINQUIRYANDWORDCOUNT(LIWC)SOFTWARE

By

AshleyMarieMiller

OliviaSwedbergYinger DirectorofThesis

MichaelBaker

DirectorofGraduateStudies

4/28/17

iii

ACKNOWLEDGMENTS

AsIsithereattemptingtoexpressmygratitudetotheindividualswhohave

shapedmypersonalandprofessionallife,Iamatalossforwords.Ihavebeen

incrediblyblessedwithfamily,friends,andmentorswhohavesupported,

encouraged,andlovedmethroughtimesofgreatjoyandthroughtimesofgreat

difficulty.Withoutallofyou,IwouldnotbewhereIamtoday.

MomandDad,youtaughtmethatmyworthisnottiedtomyachievements,

yetyouhavealwayssupportedmydreams.Ithankyouforallofthesacrificesyou

havemadeinordertobemyconstantcheerleaders.Iloveyoubothsomuch.

Iwouldliketothankmymusictherapymentors,whomIamhonoredtocall

friends.Darcy,Petra,Jessy,andJennifer,youpushedmetoreachmyfullestpotential

andtaughtmetotrustmyself.Thankyouforalwaysbelievinginme.Youhaveeach

impactedmylifemorethanyouknow.

ToAmeliaandMelissa,withoutyourhelpIcouldnothavecompletedthis

study.Thankyouforyourhoursofassistancewithsonglyricfilepreparation.

ThankyoutoDr.LornaSegallandDr.MichaelHudsonforservingonmy

thesiscommittee.Dr.Segall,thoughIhaveonlyknownyouforayear,your

enthusiasmformusictherapyandforlifehastrulyinspiredme.

Finally,Iwouldliketothankmyincrediblethesisadvisor,Dr.OliviaYinger.I

amhumbledbytheamountoftimeandenergyyouhaveinvestedinmeoverthe

pasttwoyears.YourdoorwasalwaysopenwheneverIwasinneedofguidanceora

listeningear,andIameternallygrateful.Youcaresodeeplyforyourstudentsand

worktirelesslyonourbehalf.Thankyouforyouroverwhelmingsupport.

iv

TABLEOFCONTENTS

Acknowledgments....................................................................................................................................iii

ListofTables...............................................................................................................................................vi

ListofFigures............................................................................................................................................vii

ChapterOne:Introduction......................................................................................................................1 OperationalDefinitions.............................................................................................................2

Purpose............................................................................................................................................3

ChapterTwo:ReviewofLiterature...................................................................................................4 MentalIllness.................................................................................................................................4 AnxietyDisorders..........................................................................................................4 MajorDepressiveDisorder.......................................................................................7 MentalIllnessandSuicide.........................................................................................8 Summary........................................................................................................................10 MusicTherapyandMentalIllness.....................................................................................10 TransdiagnosticTheory..........................................................................................11 GoalAreasAddressed...............................................................................................11 ResearchOutcomes...................................................................................................12 Summary........................................................................................................................13 LyricAnalysisandMentalIllness.......................................................................................13 Overview........................................................................................................................13 LyricAnalysisProcess..............................................................................................14 SongSelection..............................................................................................................15 LIWCSoftwareandMentalIllness.....................................................................................16 LIWCandPsychopathology...................................................................................17 LIWCandSongLyrics...............................................................................................20 LIWCandMusicTherapy........................................................................................22

ChapterThree:Methodology..............................................................................................................24 Participants.................................................................................................................................24 Instrumentation........................................................................................................................25 Survey..............................................................................................................................25 LIWC2015Software..................................................................................................26 Procedure.....................................................................................................................................27 Survey..............................................................................................................................27 SongListResource.....................................................................................................28 LIWC2015Analysis...................................................................................................30 DataAnalysis...............................................................................................................................31

ChapterFour:Results............................................................................................................................32 DemographicInformation.....................................................................................................32

v

MusicTherapyBackground/CurrentWork..................................................................33 UseofLyricAnalysis................................................................................................................36 PrimaryResearchQuestion..................................................................................................39 WordCountandDictionaryWords....................................................................44 SummaryLanguageVariables..............................................................................44 StandardLinguisticDimensions..........................................................................44 PsychologicalProcesses..........................................................................................44 SecondaryResearchQuestion.............................................................................................45

ChapterFive:Discussion......................................................................................................................46 PrimaryResearchQuestion..................................................................................................46 WordCountandDictionaryWords....................................................................46 SummaryLanguageVariables..............................................................................46 StandardLinguisticDimensions..........................................................................50 PsychologicalProcesses..........................................................................................51 SecondaryResearchQuestion.............................................................................................55 Limitations...................................................................................................................................55 SuggestionsforFutureResearch.......................................................................................57 ImplicationsforCurrentPractice......................................................................................58

Appendices.................................................................................................................................................60 AppendixA:IRBExemptionCertification......................................................................60 AppendixB:SurveyCoverLetter.......................................................................................61 AppendixC:Survey..................................................................................................................63 AppendixD:LyricAnalysisandMentalHealthSongListResource...................66 AppendixE:CompleteListofPrimaryTreatmentThemes/Objectives............84 AppendixF:DescriptiveStatisticsforLIWC2015Outputs.....................................88

References..................................................................................................................................................91

Vita.................................................................................................................................................................99

vi

LISTOFTABLES

Table1,LyricWebsiteInformation……………………………………………………………………29Table2,AgesofParticipants(N=315)………………………………………………………………..33Table3,TheoreticalOrientationofParticipants(N=316)……………………………………34Table4,AffiliatedRegionofParticipants(N=312)……………………………………………...35Table5,YearsofProfessionalMusicTherapyExperience(N=315)……………………..35Table6,WorkSetting(N=315)………………………………………………………………………….36Table7,SettingWhereParticipantsUseLyricAnalysis(N=315)…………………………37Table8,TopTwentyPrimaryTreatmentThemes/Objectives……………………………..39Table9,MostCommonlyUsedSongsforLyricAnalysisWiththeMentalHealthPopulation………………………………………………………………………………………………………..40Table10,LIWCDomainsofInterest…………………………………………………………………..43

vii

LISTOFFIGURES

Figure1,FlowofSongsIncludedinSongListResource………………………………………..38

1

CHAPTERONE

INTRODUCTION

MentalillnessimpactsthelivesofthemajorityofindividualsintheUnited

Statesinsomeway,whetherthroughpersonalexperienceorinteractionswith

friends,lovedones,andacquaintances.Mentalillnesscanbebroadlydefinedasa

conditionaffectinganindividual’sthinking,mood,and/orbehavior(American

PsychiatricAssociation[APA],2013).Theprevalencerateisalarminglyhigh,with

oneinfiveadultsinAmericaexperiencingamentalillness(notincludingsubstance

usedisorders)inanygivenyearandoneinfiveadolescentsaged13-18

experiencingaseverementaldisorderatsomepointintheirlife(NationalAlliance

onMentalIllness[NAMI],2016).Substanceusedisorders,whichareincludedas

mentaldisordersintheDiagnosticandStatisticalManualofMentalDisorders,Fifth

Edition(DSM-5),arealsohighlyprevalentandfrequentlyco-occurwithother

mentalillnesses(APA,2013).Accordingtothe2015NationalSurveyonDrugUse

andHealth,around8%ofallindividualsagedtwelveanduphadasubstanceuse

disorderinthepastyear(CenterforBehavioralHealthStatisticsandQuality

[CBHSQ],2016).

Researchersinvestigatingmusictherapy’seffectsonmentalhealthhave

documentednumerouspositiveoutcomes(AmericanMusicTherapyAssociation

[AMTA],2006).Musictherapyis“theclinicalandevidence-baseduseofmusic

interventionstoaccomplishindividualizedgoalswithinatherapeuticrelationship

byacredentialedprofessionalwhohascompletedanapprovedmusictherapy

program”(AMTA,2017,“WhatisMusicTherapy?”para.1).Musictherapists

2

workingwiththementalhealthpopulationusemusictoaddressnon-musicalgoals

suchasself-expression,socialization,positivecoping,improvedproblemsolving,

andself-awareness(AMTA,2006).Lyricanalysisisoneofthemostcommonlyused

musictherapyinterventionswithinmentalhealthtreatment(Dvorak,2016;Eyre&

Lee,2015;Silverman,2007,2009b)andinvolvestheexplorationanddiscussionof

songlyricsandthemes.Songchoiceisoftenguidedbyanindividualmusic

therapist’sassessmentofissuespresentedinthelyrics,thoughmusictherapistsalso

choosesongsaccordingtopersonalpreferenceandrecommendationsbyconsumers

andotherprofessionals(Silverman,2009b).Choosingsongsthatwilleffectively

addressconsumergoalscanbeachallengeformusictherapists.Thereisagapinthe

researchliteratureregardingappropriatesongselectionforlyricanalysiswiththe

mentalhealthpopulation.Anexaminationoflinguistictrendsinsonglyrics

commonlyusedforlyricanalysiswithconsumerswithmentalhealthdiagnoses

couldaidinnarrowingthisgap.

OperationalDefinitions

Forthepurposesofthisstudy,thefollowingoperationaldefinitionswereused:

MentalillnessisdefinedasadiagnosedDSM-5mentaldisorder,excluding

neurodevelopmentalandneurocognitivedisorders(APA,2013;AMTA,

2015).

Thementalhealthpopulationisdefinedasallindividualswithamentalillness

(AMTA,2015).

Lyricanalysis(alsoknownaslyricdiscussion,musiclistening/discussion,guided

musiclisteningandcounseling,songanalysis,songlyricdiscussion,orsong

3

[lyric]discussion)isdefinedasamusictherapytechniqueinvolvinglistening

toasongandengagingindiscussioncenteredonthelyriccontentforthe

purposeofassessing,validating,oraddressinghowtheconsumer

understands,thinks,feels,orrelates(Dvorak,2016;Selvarajah,2013).

Aconsumerisdefinedasaclient,patient,orpersonreceivingmusictherapyservices

(Silverman,2009b).

Purpose

Theprimarypurposeofthisstudywastoexaminethelinguisticelementsof

songlyricsmostcommonlyusedforlyricanalysiswithconsumerswhohavemental

healthdiagnoses.Specifically,thefollowingresearchquestionwasaddressed:

Whataredistinguishingcharacteristicsofsonglyricsmostcommonlyused

forlyricanalysiswiththementalhealthpopulationasmeasuredby

LinguisticInquiryandWordCount(LIWC)software?

Thesecondarypurposeofthisstudywastoprovideanupdatedsonglistresource

formusictherapistsandmusictherapystudentsworkingwiththementalhealth

population.Withthisaiminmind,thefollowingresearchquestionwasaddressed:

Whatsongsdomusictherapistsdeemmosteffectiveforlyricanalysisintheir

workwiththementalhealthpopulation?

4

CHAPTERTWO

REVIEWOFLITERATURE

MentalIllness

TheDiagnosticandStatisticalManualofMentalDisorders,FifthEdition(DSM-

5),isthecurrentclassificationsystemusedbymentalhealthprofessionalsto

diagnosementaldisorders(APA,2013).AccordingtotheAmericanPsychological

Association,amentaldisorderis“asyndromecharacterizedbyclinicallysignificant

disturbanceinanindividual’scognition,emotionregulation,orbehaviorthat

reflectsadysfunctioninthepsychological,biological,ordevelopmentalprocesses

underlyingmentalfunctioning”(2013,p.20).Thisdisturbanceinthinking,feeling,

orbehavingcanbelifealteringforthecountlessindividualslivingwithmental

illness.Theeffectsofmentalillnessextendtoanindividual’sincome,overallhealth,

andlifeexpectancy.Seriousmentalillnesscostsindividualsanaverageof$16,306in

yearlyincomeandcoststheU.S.anaverageof$193billioninlostearnings(Kessler

etal.,2008).Additionally,individualswithmentalillnesshaveanincreasedriskof

chronicmedicalconditionsanddieanaverageof25yearsearlierthanpeersdueto

treatablemedicalconditions(NAMI,2016).

AnxietyDisorders

Anxietydisordersarethemostcommonclassofmentaldisordersinthe

UnitedStates,withalifetimeprevalenceof29%(Kessleretal.,2005).Whilethe

DSM-IVincludedposttraumaticstressdisorderandobsessive-compulsivedisorder

undertheanxietydisordersumbrella,theyarecategorizeddifferentlyintheDSM-5

(APA,2013).AccordingtotheDSM-5,anxietydisordersnowincludeseparation

5

anxietydisorder,selectivemutism,specificphobia,socialanxietydisorder,panic

disorder,agoraphobia,generalizedanxietydisorder,substance/medication-induced

anxietydisorder,anxietydisorderduetoanothermedicalcondition,otherspecified

anxietydisorder,andunspecifiedanxietydisorder(APA,2013).Whilethereare

manyindividualdisorders,theircommonalitiesincludeexcessivefearandanxiety

andassociatedbehaviorchanges.

Anxietyisacommonhumanemotionthatisdesignedtoserveanadaptive

function(Rosen&Schulkin,1998).Itiscloselyrelatedtofear,whichisaresponseto

apresentthreat.Anxietydiffersfromfearinthatistheanticipationoffuturethreat

(APA,2013).Anxietywarnsanindividualsothatheorshecanpreparefororavoid

potentiallyharmfulsituations.Inthisway,anxietycanactuallybeextremelyhelpful

forsurvivalandsuccess(Rosen&Schulkin,1998).Anxietyatlowtomoderatelevels

overshortperiodsoftimeishealthyandproductiveinthatitactuallyimproves

performancebyheighteningarousal.Ifanxietypersistsforlongerperiodsoftimeor

athigherintensitylevels,itisnolongeradaptiveinnatureandinhibitsoptimal

performanceduetoexhaustionandlossoffocus(Jacofsky,Santos,Khemlani-Patel,

&Neziroglu,2013).

Whenanindividualexperiencesanxiety,ortheanticipationofathreat,the

bodyentersastateofhyper-alertnessandmayproduceafearresponsetocombat

thethreat.Fearactivatesthesympatheticnervoussystem(SNS)toincreaseblood

flowandoxygendelivery,resultinginfasterheartrateandrapidbreathing(Jacofsky

etal.,2013).Thisisoftencalledafight-or-flightresponsebecauseitpreparesan

individualtoeithercombatorfleefromperceiveddanger.Whileanxietyandfear

6

serveimportantprotectivefunctions,theiractivationintheabsenceofactualthreat

oroutofproportiontoagiventhreatbecomesproblematic(Rosen&Schulkin,

1998).

Thesymptomsofanxietyvarywidelyfrompersontoperson,buttheycanbe

physical,behavioral,emotional,cognitive,and/orpsychologicalinnature.Physical

symptomsofanxietyresultfromphysiologicalchangesduetoSNSactivation

(Jacofskyetal.,2013).Thesesymptomsmayincludearacingheart,afeelingof

restlessness,shortnessofbreath,dizziness,chestpain,andfatigue.Emotional

symptomsofanxietymayincludefeelingsofunease,dread,apprehension,worry,

fear,orpanic.Thephysicalandemotionalsymptomscanbesounpleasantthat

individualsbegintodisplaybehavioralsymptomsofavoidanceand/orself-

medicationinordertocopeandescape.Additionally,anxietycancause

psychologicalsymptomsincludingdifficultyconcentrating,difficultywithmemory,

anddepressivesymptomslikehopelessnessandpoorappetite(Jacofskyetal.,

2013).Cognitivesymptomsareoftenreflectedinnegativethoughtsandthought

patterns,whichinturnfeedintothecycleofanxiety.Inaccuratecognitiveappraisal,

oranindividual’sinterpretationofasituation,isthoughttoplayamajorrolein

anxietydisorders(Clark&Beck,2010;Jacofskyetal.,2013).Anxietyandfear

responsescanbemoreeasilytriggeredwhenanindividualoverestimatesa

perceivedthreatandunderestimateshisorhercopingabilities.Evenso,thereisno

singularcauseofanxietydisorders.Pathologicalanxietyisthoughttoresultfrom

thecomplexinteractionofbiological,psychological,andsocialfactors(Jacofskyet

al.,2013).

7

MajorDepressiveDisorder

Whileanxietydisordersarethemostprevalentclassofdisorders,major

depressivedisorderisthesinglemostprevalentlifetimedisorder,withaprevalence

of17%(Kessleretal.,2005).Majordepressivedisorderaloneistheleadingcauseof

disabilityforindividualsaged15-44(AnxietyandDepressionAssociationof

America[ADAA],2016).AccordingtotheDSM-5,amajordepressiveepisode(MDE)

ismarkedbyaperiodofatleasttwoweekswhereinanindividualexperiencesat

leastfiveofthefollowingsymptoms:depressedmood,decreasedinterestor

pleasureindailyactivities,weightfluctuations,sleepdisturbances,psychomotor

agitationorretardation,fatigue,feelingsofworthlessnessorexcessiveor

inappropriateguilt,decreasedconcentration,andsuicidalideationorattempt(APA,

2013).Depressedmoodmayinvolvefeelingsofsadness,emptiness,hopelessness,

orirritability.Itisimportanttodistinguishgrieffromamajordepressiveepisode,

thoughitispossibletoexperiencebothatonce.

Overtheyears,manytheorieshaveemergedregardingthedevelopmentand

maintenanceofclinicaldepression.OneofthemostprominenttheoriesisBeck’s

cognitivemodelofdepression,whichhasbeenmodifiedtoincluderesearchfindings

withincognitiveneuroscience(Beck,2008;Clark&Beck,2010).Inhismodel,Beck

positsthatdepressionismaintainedbyunderlyingdysfunctionalattitudesor

schemas,whichmaybeactivatedbyadverseevents.Theseschemashijackan

individual’sinformationprocessingsystem,whichthendirectsthatindividual’s

attentiontonegativestimuliandresultsinanoveralldistortednegative

interpretationofevents(Beck,2008).Thisnegativeinterpretationthenservesto

8

furtherreinforcetheindividual’sschemas,creatingaviciouscycle.Thiscycleof

negativethinkingandnegativeattentionalfocusbecomesautomaticandleadstoa

pervasivelynegativeperceptionofreality(Beck,2008).AccordingtoBeck’stheory,

environmentaltriggersandgeneticandpersonalityfactorsplayacrucialroleinthe

initialdevelopmentofthenegativeschemas(Clark&Beck,2010).

PyszczynskiandGreenberg(1987)developedaself-awarenesstheoryof

depression,notingthatindividualswithdepressiontendtodemonstratehighlevels

ofself-focus.Whileself-focusedattentionandself-evaluationaremeanttoservean

adaptiveandself-regulatoryfunction,individualswithdepressiontendtogetstuck

inaself-focusedstateastheyruminateonnegativediscrepanciesbetween

internalizedstandardsandreality(Pyszczynski&Greenberg,1987).Thisintensifies

thenegativeeffectassociatedwithdepressionandcanplayaroleinthebreakdown

ofsocialrelationships.

Aswithanxietydisorders,thereisnosinglecauseofmajordepressive

disorder.Depressionresultsfromthecomplexinteractionofavarietyoffactorsand

processes,manyofwhicharestillpoorlyunderstood.Causalfactorsmayinclude

biologicaldifferences,brainchemistry,hormones,andinheritedtraits,in

combinationwithadditionaltriggersliketraumaandstress(MayoClinic,2016).

MentalIllnessandSuicide

Mentalillnessputsindividualsatadrasticallyincreasedriskofsuicide,and

90%ofindividualswhodiebysuicideexperiencementalillness(NAMI,2016).

SuicideisthetenthleadingcauseofdeathintheUnitedStates,withover44,000

Americansdyingbysuicideeveryyearandtwenty-fivetimesthatnumber

9

attemptingsuicide(AmericanFoundationforSuicidePrevention[AFSP],2017).An

evengreaternumberofindividualsexperiencesuicidalideation.Besidesmental

illness,riskfactorsforsuicidemayincludefamilyhistoryofsuicide,previoussuicide

attempt(s),historyofalcoholandsubstanceabuse,feelingsofhopelessness,

impulsiveoraggressivetendencies,isolation,barrierstoaccessingmentalhealth

treatment,physicalillness,loss,andeasyaccesstolethalmethods(Centersfor

DiseaseControlandPrevention[CDC],2016).

Theinterpersonaltheoryofsuicidalbehaviorisafairlyrecentattemptat

explainingthecomplexpsychologicalphenomenonofsuicidalbehavior.Thistheory

distinguishesthedesiretoengageinsuicidalbehaviorfromthecapabilitytoengage

insuicidalbehavior.Accordingtothetheory,thwartedbelongingness(theunmet

“needtobelong”)andperceivedburdensomenessonothersresultinthedesirefor

suicide.Itisonlywhenthisdesireoverlapswiththecapabilityforsuicidethatlethal

ornear-lethalsuicideattemptsoccur(VanOrdenetal.,2010).Capabilityforsuicide

involvesincreasedpaintoleranceandaloweredfearofdeath.Thismayresultfrom

factorssuchasimpulsivity,exposuretosuicidality,combatexposure,pastsuicide

attempts,and/orchildhoodmaltreatment.

Theinterpersonaltheoryoffersasolidexplanationastowhyindividuals

withmentalillnessaremorelikelytoexperiencesuicidalideationandattemptor

commitsuicide.Socialisolationandinaccuratecognitiveappraisalarecommon

featuresofmentaldisordersandcaneasilyleadindividualstofeelthattheydon’t

belongandareaburdentoothers.Theadditionaltheoreticaldimensionofacquired

10

capabilityexplainswhyonlyafractionofindividualssufferingfrommentalillness

actuallygoontoattemptorcommitsuicide.

Summary

Insummary,mentalillnessisaseriousproblemintheUnitedStates,directly

affectingadisturbinglylargefractionofthepopulation.Individualswithmental

disordersmayexperienceahostofphysical,emotional,behavioral,psychological,

andcognitivesymptoms,whichinterfereconsiderablywithdailyfunctioning.

Anxietydisordersandmajordepressivedisorderarethemostcommonofthe

mentaldisordersandarebelievedtoresultfromacombinationofbiological,

psychological,andsocialfactors.Mentalillnessisoneofthetopriskfactorsfor

suicide,whichisoneoftheleadingcausesofdeathintheU.S.Musictherapyisan

effectivenonpharmacologicaltreatmentforaddressingavarietyofmentalhealth

needs.

MusicTherapyandMentalIllness

Musictherapyinvolvestheuseofmusicinterventionstoaddressnon-

musicalgoalswithinthecontextofatherapeuticrelationship.Musictherapistswork

inavarietyofsettingswithawiderangeofpatient/clientpopulations.Ina2015

surveybytheAmericanMusicTherapyAssociation,19%ofrespondentsreported

servingthementalhealthpopulation,agreaterpercentagethananyothersingle

clientpopulationcategory(AMTA,2015).Mentalhealthsettingsgenerallyinclude

treatmentandcommunitycenters,drug/alcoholprograms,forensicfacilities,and

inpatientpsychiatricunits(AMTA,2015),butmusictherapistsserveindividuals

withmentalhealthdiagnosesinothersettingsaswell(e.g.,generalhospitals,

11

schools,geriatricfacilities).Regardlessofthesetting,musictherapistsperform

consumerassessmentsanddeviseindividualtreatmentplansinordertomeetthe

needsofeachconsumer.

TransdiagnosticTheory

Groupmusictherapyisextremelycommonwithinpsychiatricmusictherapy

(Silverman,2007);however,itcanprovetobeparticularlychallengingwiththis

populationduetothediversityofgroupmemberdiagnoses.Thetransdiagnostic

theoryisapsychiatricmusictherapytreatmentphilosophythatisbasedon

Fairburn,Cooper,andShafran’stheoryofeatingdisorders(Silverman,2015).

Accordingtothistheory,lessemphasisshouldbeplacedonspecificdiagnoses,

particularlywithinagroupcontext.Instead,thefocusshouldbeonactualtreatment

andonidentifyingthecommonalitiesbetweenindividualsdealingwithvarying

mentaldisorders.AccordingtoSilverman,commonalitiesmayincludebehaviors,

symptoms,thoughtpatterns,issues,emotions,andstressors.Thereisconsiderable

overlapinthestrugglesindividualswithmentalillnessface,nomatterthediagnosis.

Focusingoncommonthemeswithinmusictherapycanbeproductive,successful,

andunifyingforeventhemostdiversegroups.

GoalAreasAddressed

Musictherapistsaretrainedtouseevidence-basedmusicinterventionsto

meetaplethoraofphysical,psychological,emotional,cognitiveandsocialneeds.

Accordingtoasurveyofpsychiatricmusictherapists,thegoalareasmostcommonly

addressedwithmentalhealthconsumersincludesocialization,communication,self-

esteem,copingskills,andstressreduction/management(Silverman,2007).Itis

12

importanttorecognizethatconsumerneedsmaybeprioritizeddifferently

dependingonthesettingandlengthoftreatment.Themodernhealthcaresystem

understandablyfocusesitslimitedresourcesonthestabilizationofacutesymptoms

ofmentalillnessinasshortatimeframeaspossible.Therefore,inpatientgoalstend

torevolvearoundconcernsforimmediatesafety.Inthesecases,musictherapists

canaddressgoalssuchasmedicationmanagement,psychoeducation,anger

management,andimpulsecontrol.Withincommunitysettingsorlongertreatment

programs,greaterattentionmaybepaidtolessobvioussymptomsofmentalillness

thatmakedailylifeastruggle.Musictherapistsmayaddressissuessuchasloss,

grief,trauma,loneliness,andstigmatoaidinlong-termmentalhealthandstability

(Jackson,2015).

ResearchOutcomes

Researchwithinthefieldofmusictherapydemonstratesthemanybenefits

musictherapycanhaveforindividualsdealingwitharangeofmentaldisorders.

Studiesonmusictherapywithpsychiatricinpatientshaveexhibitedpositiveeffects

onsatisfactionwithlife,knowledgeofillness,knowledgeofcopingskills,treatment

perceptions,responsefrequencyandtype,socialsupport,workingalliance,group

attendance,andtrustinthetherapist(Silverman,2009a,2011,2014).Arecent

systematicreviewofmusictherapywithacutepsychiatricinpatientsrevealedthat

musictherapyreducespositiveandnegativesymptomsofmentalillness,alleviates

psychiatricsymptoms,andimprovesinterpersonalfunctioning(Carr,Odell-Miller,&

Priebe,2013).Additionally,astudybyGrocke,Bloch,andCastle(2009)showedthat

musictherapysessionsheldwithincommunitysettingssignificantlyimprovedself-

13

reportedqualityoflife,satisfactionwithoverallhealth,socialsupport,opportunities

forleisureactivities,andphysicalpainforindividualswithsevereandenduring

mentalillness.

Summary

Musictherapyisaneffectivenon-pharmacologicaltreatmentoptionfor

individualswithmentalillness.Servicesareprovidedwithinavarietyofsettings,

includinginpatientpsychiatricunits,communitycenters,anddrug/alcohol

programs,tonameafew.Whilemusictherapistsmayworkwithmentalhealth

consumersonanindividualbasis,manyprovidegroupmusictherapy.The

transdiagnosticmodelprovidesahelpfulcontextformeetingtheneedsof

individualswithdifferentdiagnosesbycenteringtreatmentaroundcommonthemes

andideas.Consumergoalsmayincludeincreasingcopingskills,reducingstress,

improvingimpulsecontrol,andincreasingknowledgeofillness.Researchshows

thatmusictherapycansuccessfullyaddressandalleviatesymptomsofmental

illness.

LyricAnalysisandMentalIllness

Overview

Musictherapistsusemanydifferenttechniquesandinterventionstoaddress

clientandpatientgoals,butlyricanalysisisoneofthemostpopularwithinmental

healthtreatment.Inarecentsurveystudy,84%ofmusictherapistsworkingin

mentalhealthtreatmentsettingsreportedusinglyricanalysisinterventions(Eyre&

Lee,2015).Inabroadsense,lyricanalysisissimplythediscussionofsonglyrics.

Withinmentalhealthtreatment,thistechniqueinvolveslisteningtoasongand

14

engagingindiscussioncenteredonthelyriccontentforthepurposeofassessing,

validating,oraddressinghowthemusictherapyconsumerunderstands,thinks,

feels,orrelates(Dvorak,2016;Selvarajah,2013).Lyricanalysis-typeinterventions

gobymanydifferentnameswithinthemusictherapyliterature,includinglyric

discussion,musiclistening/discussion,guidedmusiclisteningandcounseling,song

analysis,songlyricdiscussion,andsong[lyric]discussion(Dvorak,2016).

Althoughpsychiatricmusictherapyismostoftendeliveredingroupformat,

lyricanalysiscanbeusedwithindividualsorgroups(Silverman,2007).Lyric

analysisisusedtoaddressawidevarietyofpatientgoals.Goalsandtreatment

themesmayincludeself-expression,emotionregulation,coping,change,support,

addictionandabuse,problemidentification,symptoms,goalsetting,hope,positive

thinking,acceptance,andself-awareness(Selvarajah,2013;Silverman,2009b).

LyricAnalysisProcess

Lyricanalysisinterventionstypicallybeginwiththeconsumer(s)and

therapistlisteningtoasongtogether,eitherviaarecordingorplayedlivebythe

therapist(Silverman,2009b).Afterward,themusictherapistusesverbalprocessing

techniquestofacilitatediscussioncenteredonthelyrics.Dvorak'sfive-level

frameworkforlyricanalysisprocessingprovidesaformatforfacilitatingthis

discussionwithinagroupcontext(2016).Theframeworkinvolves(1)processing

themusicitself,(2)reflectingonparticipants'responses,(3)discussingtheeffecton

thegroupprocess,whichencouragesparticipantstoconsiderandinteractwith

othergroupmembers,(4)reflectingonparticipants'personalinsights,and(5)

transferringnewinsightstoparticipants'lives(Dvorak,2016).Processingthemusic

15

canbeanon-threateningwaytoopenupdiscussionwhilebuildingrapportand

trust.Eachlevelwithintheframeworkrequiresadditionaltrust,transparency,and

opennessfromgroupmembers.Oncealevelofconnectionandtrustisbuilt,

patientsmayfeelmorecompelledtosharedeeperpartsofthemselveswiththe

therapistandgroup,guidedbyapplicablelinesfromwithinthesong.Thissharingin

turnleadstothedevelopmentofnewinsightsandlifeapplications.Althoughitwas

designedspecificallyforgroup-work,theaforementionedframeworkmaybe

modifiedforworkwithindividualsaswell.

SongSelection

Sincelyricanalysisinterventionscompletelyrevolvearoundsongsandtheir

lyriccontent,itiscrucialthatmusictherapistspaycarefulattentiontosong

selection.Whenchoosingmusicthatwillbemostappropriateandeffectivefor

consumers,musictherapistsneedtoconsiderthetherapeuticfunctionofmusic.

Theymustclearlyunderstandtheroleofeachmusicalelementinmeetingdesired

therapeuticoutcomes(Hanson-Abromeit,2015).Whileelementssuchastempo,

melody,rhythm,andharmonicstructuremustbecarefullyconsidered,lyricsin

particularshouldbeheavilyscrutinizedfortheirtherapeuticvalue.

Inspiteoftheimportanceofthechoiceofsongsusedbymusictherapistsin

lyricanalysis,thereisverylittleresearchtodateonsongselection.A2009survey

studyrevealedthatmusictherapiststypicallychoosesongsaccordingtotheme,

personalpreference,andconsumerorprofessionalrecommendations(Silverman,

2009b).AccordingtoanarticlebyGardstromandHiller,specificsonglyric

considerationsmayalsoincludeliteraryelementsandtechniquesandpointofview

16

(2010).Additionally,musictherapistsmaypurposefullyavoidcertainsongsbased

oncontent.A2016surveyinvestigatingcensorshipinadultpsychiatricmusic

therapypracticeshowedthatthemajorityofrespondentsengagedinsomeformof

musiccensorship(Joplin&Dvorak).Themostcommonlycensoredlyricswere

profanity,drugreferences,andalcoholreferences,andthemostcommonly

censoredthemesweremisogyny,violence,sex,gang-relatedcontent,andmisandry.

Thetopreasonsforcensorshipincludedpotentialnegativeimpactonothergroup

members,clientdiscomfort,negativeimpactonthetherapeuticrelationship,

negativeimpactonclientself-esteem,andincitementofemotionaldistress.While

thisstudyprovidesusefulinformationonlyrics,themes,songs,andgenresofmusic

thatpsychiatricmusictherapistscommonlyavoid,thereisagapintheresearch

literatureregardingappropriatesongselectionforlyricanalysiswiththemental

healthpopulation.Anexaminationoflinguistictrendsinsonglyricscommonlyused

forlyricanalysiswithpatientswithmentalhealthdiagnosescouldaidinnarrowing

thisgap.

LinguisticInquiryandWordCount(LIWC)SoftwareandMentalIllness

Psychologistsandrelatedprofessionalshavebeenanalyzingwordand

languageusagefordecades,lookingtoidentifylinguisticpatternsindicating

underlyingpsychologicalprocesses(Tausczik&Pennebaker,2010).Linguistic

InquiryandWordCount,orLIWC,isacomputer-basedtextanalysisprogram

designedtoquicklyandeffectivelyprocesswrittenortranscribedverbaltext

utilizingalistofdictionarywordsrepresenting82languagedimensions

(Pennebaker,Boyd,Jordan,&Blackburn,2015).Researcherscanpre-selectwhich

17

languagedimensionsthesoftwarewillanalyzeaccordingtoinvestigativepurpose.

LIWCwasinitiallydevelopedtogainabetterunderstandingofhowandwhywriting

aboutpersonalandemotionalexperiencesbenefitspsychologicalandphysical

health(Pennebaker,1993,1997;Pennebaker&Seagal,1999).Itwassoon

discoveredthatthewritingitselfrevealedalotaboutanindividual’spsychological

state.AccordingtoPennebaker,Mehl,andNiederhoffer(2003,p.550),wordscan

“conveypsychologicalinformationoverandabovetheirliteralmeaningand

independentoftheirsemanticcontext.”ThismakesLIWCausefultoolfor

understandingpsychologicalcharacteristicsofindividualsreceivingmentalhealth

treatment.

LIWCandPsychopathology

Suicide.Anexaminationofworduseinpoetrywrittenbysuicidalversus

nonsuicidalpoetsshowedthatsuicidalindividualsusedmorefirstpersonsingular

pronouns(I)throughouttheircareersanddecreasedtheiruseoffirstpersonplural

pronouns(we)overtime,reflectingself-focusedattentionandpoorsocial

integration(Stirman&Pennebaker,2001).Alatercasestudyanalyzingafamous

explorer’swritingsoverthesevenyearsleadinguptohissuiciderevealedincreases

infirstpersonsingularpronounuse,decreasesinfirstpersonpluralpronounuse,

andincreasesinnegativeemotionword(hurt)useovertime(Baddeley,Daniel,&

Pennebaker,2011).Whilethiswasasingleaccountandtheresultscannotbe

generalized,thefindingsofthiscasestudyareindicativeoftheself-focused

attention,socialwithdrawal,andnegativeaffecttypicalofindividualswith

depressionandsuicidalideation.Furthermore,arecentanalysiscomparingthe

18

languageinsuicidenotesandthelanguageinlegacytokens(i.e.communications

designedtotakecreditforandexplainthemotivationsbehindanattack)ofactive

shooterswithasampleofover20,000studentwritingsshowedthatsuicidenotes

couldbedifferentiatedbyincreasedself-referencesandfuturetense(will)usage,

whilelegacytokenscouldbedifferentiatedbyincreasedangerreferences(hate)and

negativeemotionreferences(Egnoto&Griffin,2016).Thisstudyshowsthatthere

arelinguisticdifferencesbetweensuicidalandhomicidalwritings.Suicidalwritings

weremoreself-focusedandfutureoriented,whilelegacytokensweremoreangry

andemotionallynegative.

MentalDisorders.Astudylookingatdifferencesinlanguageusebetween

depressed,formerly-depressed,andnever-depressedcollegestudentsshowedthat

depressedindividualsusedmorenegativelyvalencedwordsandfirstperson

singularpronounsintheirwriting,supportingBeck’scognitivemodelofdepression

andPyszczynskiandGreenberg’sself-focusmodelofdepression(Rude,Gortner,&

Pennebaker,2004).Acomparisonbetweenthewritingofpsychiatricoutpatients

andnonclinicalcontrolsshowedthatpsychiatricoutpatientsusedfewer

optimism/energyrelatedwords(certainty);fewerdiscrepancy(should),inhibition

(block),andtentativeness(maybe)words;fewerexclusion-relatedwords(but);and

fewerbody-relatedwords(ache)(Junghaenel,Smyth,&Santner,2008).

Optimism/energywordsreflectedthedegreeofoptimisminthewriting,and

discrepancy,inhibition,andtentativenesswordsreflectedthedegreeofcognitive

processing.Patientdiagnosesincludedschizophreniaandotherpsychoticdisorders

aswellasbipolarandrelateddisorders,whichcouldexplainthelowrateof

19

cognitiveprocesswords.Cognitiveprocessingreflectsanindividual’sattemptsto

organizeandmakesenseoftheirenvironment,andthisisextremelydifficultfor

patientsexperiencingpsychosis,ordisconnectionfromreality.

Trauma.A2004studyanalyzingpubliconlinejournalentriesbeforeand

aftertheSeptember11,2001attacksshowedimmediatepsychologicalchangesin

responsetotheattacks,evidencedbyincreasedexpressionofnegativeemotions,

cognitiveprocessing,socialorientation,andpsychologicaldistancing(Cohn,Mehl,&

Pennebaker).Overthefollowingtwoweeksaftertheattacks,moodandsocial

orientationreturnedtonormal,butcognitiveprocessingactuallydroppedbelowits

baselinelevel.Aftersixweeks,psychologicaldistancingremainedelevated,and

socialorientationcontinuedtodrop.Thismayreflectahealthyand“typical”pattern

ofcopingwithtrauma:Individualsinitiallyfeltfreetoexpresswhattheywere

feelingandseeminglyfoundcomfortandstabilityintheirsocialrelationships.They

processedthetraumaonacognitivelevel,whiledistancingthemselvesasa

protectivemeasure.

Astudyfrom2010usedLIWCandameasureofposttraumaticstress

symptomstoexplorehowwrittenemotionaldisclosurereflectedthecopingabilities

ofadolescentswhohadrecentlyexperiencedthedeathofaclassmate(Margola,

Facchin,Molgora,&Revenson).Studentswerepromptedtowriteabouttheir

emotionalreactionseachdayforthreeconsecutivedays.Theywereadministered

theImpactofEventsScale-Revised(IES-R)atbaselineandagainatoneweekand

fourmonths’postwriting.Resultsofthestudyshowedthatadolescentswho

remainedhighlydistressedacrosstimeusedmoreself-references,morecausation

20

words(because),morewordsreflectinginhibition,andfewersocial(talk)and

cognitiveprocessingwords(cause)incomparisonwithadolescentswhodisplayed

highdistressfollowedbyimprovementovertime.Incontrast,theadolescentswho

displayedarecoverypatternofadjustmentusedmorecognitiveprocessingwords,

specificallyreflectinginsight(think),tentativeness,anddiscrepancy.

Morerecently,researchersanalyzedtwitterdataacrossthreecasestudiesto

lookattheeffectsofviolencenearoroncollegecampuses(Jones,Wojcik,Sweeting,

&Silver,2016).Theyfoundsignificantincreasesingeneralnegativeemotion

expressionandevent-relatednegativeemotionexpressionimmediatelyfollowing

thetraumaticevents,whichdecreasedoverthecourseofthefollowingweeks.This

progressionofnegativeemotionexpressionmirrorsthefindingsintheSeptember

11,2001journalentries,supportingtheideathathealthycopingrequiresshort-

termnegativeemotionexpression.

LIWCandSongLyrics

LIWChasbeenusedtoanalyzesonglyricswithinseveraldifferentcontexts.

ResearchershavebeenabletostudyhowthemusicofgroupsandartistslikeThe

Beatles(Petrie,Pennebaker,&Sivertsen,2008)andBobDylan(Czechowski,

Miranda,&Sylvestre,2015)evolvedovertime.Theyhavealsolookedatlinguistic

indicatorsofpsychopathologywithinsonglyrics.Astudycomparingthelyricsof

suicidalandnon-suicidalsongwritersshowedthatsuicidalsongwritersusedmore

future-tenseverbsandfewerdeath-themedwords(kill)(Lightman,McCarthy,

Dufty,&McNamara,2007).Whilethisseemscounterintuitive,theauthorssuggested

thatitcouldbeduetothetherapeuticeffectsofwritingand/ortofeaturesofsong

21

lyricsthatsetthemapartfromotherformsofwriting.Asimilarstudyonlyrics

writtenbysongwritersinthe“27Club”,agroupofmusicianswhoeithercommitted

suicideordiedtragicallyattheageof27,(Markowitz&Hancock,2016)produced

resultsmoreinlinewiththeself-focusedattentionfoundinearlierstudieson

suicidality(Baddeleyetal,2011;Stirman&Pennebaker,2001).Theresearchers

foundthatsonglyricswrittenbysuicidalmusicianscomparedtonon-suicidal

musicianscontainedmorefirst-personsingularpronounsandaffectterms(happy),

andtheywerewrittenwithmoreverbalimmediacy(lesspsychologicaldistancing).

Lyricsalsoreflectedamoredynamicwritingstyle,whichtendstobeveryemotional

andinformal(Markowitz&Hancock,2016).

WhilemostLIWCstudieshaveanalyzedwrittentext,poetry,andsonglyrics

inordertogaininformationaboutthewriters,therehasbeensomeinterestin

lookingattheunderlyingpsychologicalprocessesofmusicconsumers.Ananalysis

ofBillboardNo.1songsacrosschangesinU.S.socialandeconomicconditions

showedthatpeopletendedtopreferlisteningtosongswithmorefuturereferences,

morefrequentreferencestosocialprocessesandintergroupthemes,andmore

wordspersentenceduringthreateningtimes,suggestingtheunderlyingneedsfor

hope,socialaffiliation,andmeaningfulexplorationofthoughts(Pettijohn&Sacco,

2009).A2011studylookedathowchangesinpopularU.S.songlyricsovertime

reflectedlarge-scalechangesinpsychologicaltraitsandemotions(DeWall,Pond,

Campbell,&Twenge).Theresearchersanalyzedthemostpopularsongsfrom1980-

2007andfoundthatpopularsonglyricshavebecomemoreself-focused,socially

disconnected,angryandantisocial,andlesspositiveovertime.Thesechanges

22

reflectU.S.culturalshiftsandareevidencedbyincreaseduseoffirst-personsingular

pronounsandwordsrelatedtoangerandantisocialbehavioranddecreaseduseof

first-personpluralpronouns,socialinteractionwords,andpositiveemotionwords

(good).

LIWCandMusicTherapy

Withinthefieldofmusictherapy,LIWChasbeenusedtoexaminethe

linguisticcharacteristicsofsongscommonlyusedbymusictherapistswitholder

adultclients(Yinger&Springer,2016).Asimilarprocesscouldbehelpfulinlooking

atthelinguisticcharacteristicsofsongscommonlyusedbymusictherapistswith

thementalhealthpopulation.Whileconsumerstypicallydonotactivelywritelyrics

duringlyricanalysisinterventions,linguisticelementswithincommonlyusedsongs

maysuggestunderlyingpsychologicalprocesseswithwhichtheseconsumersrelate.

LIWCcouldprovidehelpfulinsightintoappropriatesongselectionforlyricanalysis

interventionswiththementalhealthpopulation.Aspreviouslystated,theprimary

purposeofthisstudywastoexaminethelinguisticelementsofsonglyricsmost

commonlyusedforlyricanalysiswithconsumerswhohavementalhealth

diagnoses.Specifically,thefollowingresearchquestionwasaddressed:

Whataredistinguishingcharacteristicsofsonglyricsmostcommonlyused

forlyricanalysiswiththementalhealthpopulationasmeasuredby

LinguisticInquiryandWordCount(LIWC)software?

Thesecondarypurposeofthisstudywastoprovideanupdatedsonglistresource

formusictherapistsandmusictherapystudentsworkingwiththementalhealth

population.Withthisaiminmind,thefollowingresearchquestionwasaddressed:

23

Whatsongsdomusictherapistsdeemmosteffectiveforlyricanalysisintheir

workwiththementalhealthpopulation?

24

CHAPTERTHREE

METHODOLOGY

ThisstudywassubmittedtotheInstitutionalReviewBoard(IRB)ofthe

UniversityofKentuckyforexemptioncertificationduetotheuseofsurvey

procedureswherenoidentifyinginformationwascollectedandnomorethan

minimalriskwasposedtoresearchparticipants.AnexemptionfromIRBapproval

(SeeAppendixA)wasreceivedpriortoconductingthestudy.TheIRBconsidered

thisstudytobeexemptbecauseparticipantresponsesandidentitiesarenotlinked

inanyway.

Participants

TheresearcherobtainedfromtheCertificationBoardforMusicTherapists

(CBMT)theemailaddressesofallboard-certifiedmusictherapistswhooptedto

receiveemailsthroughCBMT(N=6,757).Thesampleincludedtheentire

populationofboard-certifiedmusictherapistswhooptedtoreceiveemailsthrough

theCBMT.Oneemailaddresswasinvalidandoneemailaccountwasnolongerin

use.Atotalof528board-certifiedmusictherapistsrespondedtotheresearcher

regardingtheonlinesurveyand497completedthesurvey.Ofthe31respondents

whodidnotcompletethesurvey,11statedthattheywereineligibletoparticipate

inthesurveyduetonotcurrentlyusinglyricanalysisand/orworkingwiththe

mentalhealthpopulation,12statedtheywereineligibleduetobeingretiredornot

currentlyworkingasamusictherapist,6requestedtoberemovedfromthe

researcher’semaillistforunspecifiedreasons,and2reporteddifficultywiththe

surveylink.

25

Instrumentation

Survey

Thesurveytoolusedinthisstudywascreatedbytheresearcherand

consistedofthreedifferentsections:(a)demographicinformation;(b)music

therapybackground/currentwork;and(c)useoflyricanalysis.Thesurvey

contained11questionsandwasdesignedtocollectdataregardingsongsusedby

musictherapistsforlyricanalysiswithconsumerswhohavementalhealth

diagnoses.Severalcomponentsweremodifiedfromsurveytoolsusedinearlier

studiesbySilverman(2007;2009b),whichsurveyedpsychiatricmusictherapists

regardingcurrentpracticesandsongsusedforlyricanalysis.Theinstrumentused

inthecurrentstudyisdiscussedingreaterdetailinthefollowingsectionsandcan

befoundinAppendixC.

DemographicInformation.Thesurveybeganbyaskingparticipantsifthey

currentlyuselyricanalysiswithoneormoreconsumerswithamentalhealth

diagnosis(excludingneurodevelopmentalandneurocognitivedisorders)inany

setting.Thesurveyinstructedmusictherapiststodiscontinuethesurveyifthey

answerednotothisquestion.Theinitialquestionwasusedtoensurethatmusic

therapistsnotusinglyricanalysiswiththementalhealthpopulationintheircurrent

practicewouldnotbeincludedinthestudy.Thenextthreequestionswere

presentedinamultiple-choiceformatandcollectedgeneraldemographic

informationregardinggender,age,andethnicity/race.Thequestionsandresponse

optionswerebasedonthe2015AmericanMusicTherapyAssociation(AMTA)

26

MemberSurveyandWorkforceAnalysis(AMTA,2015),whichisanannualsurveyof

allcurrentAMTAmembers.

MusicTherapyBackground/CurrentWork.Thissectionconsistedoffive

questionsinmultiple-choiceandcheck-boxformat,usedtoassesseachparticipant’s

professionalmusictherapyexperience.Aswiththedemographicinformation

section,questionsandresponseoptionswerebasedontheAMTAMemberSurvey

andWorkforceAnalysis(AMTA,2015).Questionscollectedinformationonhighest

levelofeducation,theoreticalorientation,affiliatedregion,yearsofexperienceasa

musictherapist,andcurrentworksetting(s).

UseofLyricAnalysis.Thissectionconsistedofonecheck-boxquestionand

onefill-in-the-blankquestionmadeupof15sub-questions.Thecheck-boxquestion

wasusedtocollectdataonthesetting(s)inwhichmusictherapistscurrentlyuse

lyricanalysiswithoneormoreconsumerswithamentalhealthdiagnosis.Thefill-

in-the-blankquestionaskedparticipantstolistthefivemosteffectivesongstheyuse

forlyricanalysiswithmentalhealthconsumers,alongwiththenameoftheartist

andtheprimarytreatmenttheme/objectiveforeachsong.

LIWC2015Software

LinguisticInquiryandWordCount2015software,orLIWC2015,wasusedto

analyzethelyricsofsongsreturnedbymusictherapistsviathestudysurvey.

LIWC2015isacomputer-basedtextanalysisprogramthatanalyzeswrittenor

transcribedverbaltext,calculatingwordpercentagesacross82differentlanguage

dimensions(Pennebaker,Boyd,etal.,2015).

27

Procedure

Survey

TheresearcherpurchasedemailaddressesfromCBMTforallboard-certified

musictherapistswhooptedtoreceiveCBMTemails.Acoverletterthatdescribed

thenatureofthestudy,instructionsforsurveyparticipation,andtermsofconsent

wasincludedthetextofeachsurveyemail(SeeAppendixB).Participantscompleted

thesurveyandwereabletoskipquestions.Surveysubmissionindicatedparticipant

consentforthecurrentstudy.Atotalof497surveysweresubmitted,butonly316

metinclusioncriteria.Althoughparticipantswereinstructedtodiscontinuethe

surveyiftheydidnotuselyricanalysiswithmentalhealthconsumers,anumberof

respondentscompletedandsubmittedthesurveyinspiteofnotusinglyricanalysis

inmentalhealth.Surveyswereexcludedifparticipantsanswered“no”tothefirst

questionregardingcurrentuseoflyricanalysiswiththementalhealthpopulation(n

=174).Sixsurveyswereexcludedbecauseparticipantsdidnotanswerthefirst

question.Onesurveywasexcludedduetoresponsesthatwerefantastical,leading

theresearchertobelievethatthequestionnairewasfilledoutinjest.

TheREDCapsurveywaspublishedonlineforafive-weekwindowafterthe

initialemailwassentinvitingpotentialparticipants.Follow-upemailsweresent

aftertwoweeksandfourweekstopotentialparticipantswhohadnotyetcompleted

thesurvey,remindingthemofthesurveyclosuredate.Thesurveywasclosedafter

fiveweeksandnofurtherdatawereaccepted.Surveysweresubmittedthroughthe

securedatasoftwareREDCapinanon-identifyingformat.

28

SongListResource

Theresearchercompiledallofthesongsreportedbysurveyrespondents

intoanalphabetizedlistandcorrectedresponsesthatwereoff-setdueto

respondentsreportinganswersinthewrongtextboxes.Ifmorethanonesongor

artistwaslistedbysurveyrespondentswithinasinglesurveyblank,theresearcher

onlyincludedthefirstone.Ifnoartistwaslisted,theresearcherlocatedtheoriginal

artistoridentifiedthesongasatraditionalsongorhymn.Theresearchercorrected

artistandsongtitleerrorsandremovedduplicatesfromthelistandlookedupsong

lyricsandrecordingsforeachsongusingavarietyofonlinelyricwebsites,Spotify

(https://www.spotify.com),andYouTube(https://www.youtube.com).Table1

showseachlyricwebsite,publisher,yearoflatestupdate,URL,andnumberofsongs

fromthewebsiteusedinthisstudy.Theresearcherexcludedsongsforwhichlyrics

orarecordingcouldnotbefound.Songswithoutlyricswereexcludedbasedonthe

researcher’soperationaldefinitionoflyricanalysis.Children’sbookssettomusic

wereexcludedbecausetheywerenotoriginallywrittenassongs.

29

Table1

LyricW

ebsiteInformation

WebsiteTitle

Publisher

Year

URL

#of

Songs

LyricW

ikia

Wikia,Inc.

2017

Lyrics.wikia.com

662

AZLyrics

AZLyrics.com

2017

Azlyrics.com

10

Musixmatch

Musixmatch

2017

Musixmatch.com

6Hym

nlyrics.org

Hym

nlyrics.org

2017

Hym

nlyrics.org

5JanaStanfield

JanaStanfield’sKeynoteConcerts

2017

Janastanfield.com

2JewishLearningMatters

TheRosenfeldFoundation

2015

Jewishlearningm

atters.com

2Wikipedia:TheFreeEncyclopediaWikimediaFoundation

2017

Wikipedia.org

2AllTheLyrics.com

AllTheLyrics.com

2017

Allthelyrics.com

1

AylaNereo

Bandcamp,Inc.

2017

Aylanereo.bandcamp.com

1TheDisneyWiki

Wikia,Inc.

2017

Disney.wikia.com

1Genius

GeniusMediaGroup,Inc.

2017

Genius.com

1Kidsongs

TogetherAgainVideoProductions,Inc.

2016

Kidsongs.com

1LyricsMode

LyricsMode

2017

Lyricsmode.com

1LyricsTranslate

LyricsTranslate.com

2017

Lyricstranslate.com

1MetroLyrics

CBSInteractiveInc.

2017

Metrolyrics.com

1NewReleaseToday

NRTMediaInc.

2017

Newreleasetoday.com

1RoySakum

a.net

RoySakuma

2015

Roysakum

a.net

1

30

LIWC2015Analysis

Theresearchercompiledsongslistedbyfiveormoremusictherapistsintoa

separatelistofmostcommonlyusedsongsforlyricanalysiswiththementalhealth

population.Whenthereweremultipleversionsofthesamesonglisted,the

researcherincludedthemostfrequentlylistedversionforanalysissothatmultiple

versionsofthesamesongwerenotanalyzed.

LyricsforeachsongwerecopiedandpastedintoseparateMicrosoftWord

files.Theresearcherandtworesearchassistantsthenlistenedtorecordingsof

everysongwithaspecifiedartistinordertocorrectlyricmistakes.Fortraditional

songsandhymns,lyricfileswerecheckedagainstlyricsrecordedinseveral

songbookscommonlyusedbymusictherapistsandmusictherapystudents(Blood

&Patterson,1998;Fox&Weissman,2007;Hackett,1998;Simon,1975).Twoofthe

consultedsongbookswerecitedina2016studyanalyzingsongsmostcommonly

usedbymusictherapistswitholderadultclients(Yinger&Springer,2016),andthe

remainingsongbookswereintheresearchadvisor’spersonalcollection.Songfiles

werepreparedforLIWC2015analysisinfivesteps:(1)wordsrepresentingsong

progressionmarkers(e.g.,verse,chorus,solo)wereremoved;(2)spellingerrors

werecorrected;(3)musicalnon-wordsounds(e.g.,mmm,nah,uh)wereremoved;

(4)uncommoncontractionswerespelledouttopreventthemfrombeingcounted

aspossessivenouns(e.g.,Sally’s,father’s,heart’s);and(5)commonslangand

abbreviationswereconvertedintofullwords(e.g.,dunno,walkin’,homie).Oncethe

songfileswereprepared,theresearcherranthemthroughtheLIWC2015software,

31

generatingwordcountoutputsfor82languagedimensions,predominantly

displayedaspercentagesoftotalwordcount.

DataAnalysis

Datawereanalyzedusingdescriptivestatisticsandgraphicanalysis.

32

CHAPTERFOUR

RESULTS

Thisstudyusedasurveytoexaminemusictherapists’songselectionforlyric

analysiswiththementalhealthpopulation.Atotalof6,757musictherapistswere

invitedviaemailtoparticipateinthesurvey.Oneemaildidnotgothroughandone

emailreturnedanautomatedmessagethattheaccountisnotlongerinuse.During

thefive-weekwindow,atotalof528musictherapistsemailedaresponsetothe

survey,and497completedvariouspartsthesurvey.Ofthe497whocompletedthe

survey,316wereeligibletobeincludedintheanalysis.Althoughtheresponserate

seemslow,itwasestimatedthatapproximately1,284musictherapistscurrently

workwithmentalhealthconsumersacrosssettingsandwouldbeeligibleto

participateinthesurvey(AMTA,2015;H.Burkett,personalcommunication,March

8,2017).Usingthisestimate,theresponseratewasapproximately25%.Descriptive

statisticswerecomputedforallvariablesinthesurveytoolandforLIWC2015

outputs.

DemographicInformation

Aspreviouslynoted,316musictherapistscompletedthesurveythrough

REDCapandwereeligibleforinclusioninthestudy.Asdescribedinthecoverletter,

individualswereallowedtoskipanysurveyquestions.Becauseparticipantsdidnot

answereveryquestion,resultsarebasedoffofthetotalnumberofparticipantswho

answeredeachquestionindividually.

Ofthe314participantswhoindicatedgender,83.8%identifiedasfemale(n=

263),15.0%identifiedasmale(n=47),and1.3%identifiedas“other”(n=4).No

33

participantsidentifiedastransgender.Writtenresponsesfor“other”included:“all”;

“male,female,andtransgender”;and“bothmaleandfemale.”Ofalltheparticipants

whoindicatedage(N=315),thelargestnumberfellintotheagerange20-29years

(n=117),accountingfor37.1%ofresponses.Themajorityofparticipants(73%)

wereunderage40(n=230).Oneparticipantchosenottoindicateage.SeeTable2

belowforacompleteagebreakdown.

Table2AgesofParticipants(N=315)AgeRange n %<20years20-29years30-39years40-49years50-59years60-69years70+years

61171073235135

1.9%37.1%34.0%10.2%11.1%4.1%1.6%

Themajorityofparticipants(N=314)reportedtheirethnicity/raceas

Caucasian/White(n=280,89.2%),followedbyMultiracial(n=12,3.8%),Blackor

AfricanAmerican(n=7,2.2%),andAsian/AsianAmerican(n=7,2.2%).Remaining

participantsidentifiedasHispanic/Latino/Spanish(n=4,1.3%)orother(n=4,

1.3%).Writtenresponsesfor“other”included:“all,”“MiddleEastern,”and“Black

AmericanandWhiteAmerican.”NoparticipantsidentifiedasAmerican

Indian/AlaskaNativeorPacificIslander.

MusicTherapyBackground/CurrentWork

Overhalfofparticipants(N=315)indicatedthattheirhighestlevelof

educationwasamaster’sdegree(n=162,51.4%),whileremainingparticipants’

34

highestlevelofeducationwaseitherabachelor’sdegree(n=146,46.3%)ora

doctoraldegree(n=7,2.2%).Allparticipants(N=316)answeredthequestionabout

theoreticalorientation.Thisquestionwasformattedsothatparticipantscould

selectmorethanoneoption;therefore,thetotalpercentageisgreaterthan100%.

TheoptionsmostfrequentlyselectedwereBehavioral(n=179,56.6%),

Humanistic/Existential(n=165,52.2%),andCognitive(n=165,52.2%).SeeTable3

belowforabreakdownofparticipants’theoreticalorientations.

Table3TheoreticalOrientationofParticipants(N=316)Orientation n %BehavioralHumanistic/ExistentialCognitiveHolisticPsychodynamicNeuroscienceOther

1791651651221066325

56.6%52.2%52.2%38.6%33.5%19.9%7.9%

Note.Responsesfor“other”included:music-centered,DialecticalBehaviorTherapy(DBT),faith-based,person/client-centered,eclectic,cognitivebehavioral,experiential,soulmaking,NeurosequentialModelofTherapeutics,trauma-focused,transpersonal,developmental,biomedical,mindfulness-based,andunaffiliatedtheoreticalorientation. OfthesevengeographicalregionsdefinedbytheAmericanMusicTherapy

Association(AMTA,2015),thelargestnumberofparticipants(N=312)reported

affiliationwiththeMid-Atlanticregion(n=74,23.7%),followedbytheSoutheastern

region(n=59,18.9%)andtheGreatLakesregion(n=58,18.6%).SeeTable4fora

completebreakdownofparticipants’affiliatedregions.

35

Table4AffiliatedRegionofParticipants(N=312)AffiliatedRegion n %Mid-AtlanticSoutheasternGreatLakesWesternSouthwesternMidwesternNewEngland

74595848302914

23.7%18.9%18.6%15.4%9.6%9.3%4.5%

Ofthe315participantswhoreportedyearsofexperienceasamusictherapy

professional,thegreatestnumberhad1-5yearsofexperience(n=121,38.4%).

RefertoTable5forabreakdownofyearsofmusictherapyexperience.

Table5YearsofProfessionalMusicTherapyExperience(N=315)YearsofExperience n %<11-56-1011-1516-2021-2526-3030+

2812173381791118

8.9%38.4%23.2%12.1%5.4%2.9%3.5%5.7%

WorksettingoptionsweredefinedbytheAmericanMusicTherapy

Association(AMTA,2015).Participantswerefreetoselectasmanyoptionsas

appliedtotheircurrentwork.Themajorityofparticipants(N=315)reported

currentlyworkinginthementalhealthsetting(n=225,71.4%),whichincluded

child/adolescenttreatmentcenters,communitymentalhealthcenters,drug/alcohol

36

programs,forensicfacilities,andinpatientpsychiatricunits.Table6offersa

completebreakdownofparticipants’currentworksettings.

Table6WorkSetting(N=315)WorkSetting n %MentalHealthSettingMedicalSettingSelfEmployed&PrivatePracticeGeriatricFacilityChildren’sFacility/SchoolOther

2258686684818

71.4%27.3%27.3%21.6%15.2%5.7%

Note.Responsesfor“other”included:dayrehabforadultswithintellectualanddevelopmentaldisabilities(IDD),Medicaidwaiverserviceprovider,physicaltherapypractice,correctionalfacility/stateprison,statedevelopmentalcenter,IntermediateCareFacilityfortheDevelopmentallyDisabled(ICF/DD),state-runfacilityfordevelopmentallydisabledadultswithmultiplediagnoses,hospiceandpalliativecare,community-basedclinic,home-basedoutpatientcareforveteranswithtraumaticbraininjury(TBI)andpost-traumaticstressdisorder(PTSD),non-profit,women’sempowerment,universityclinic,chronicpainandbereavement.

UseofLyricAnalysis

Themajorityofparticipants(N=315)indicatedthattheycurrentlyuselyric

analysiswithoneormoreconsumerswithamentalhealthdiagnosiswithinthe

mentalhealthsetting(n=228,72.4%).SeeTable7foracompletebreakdownofthe

settingsinwhichparticipantscurrentlyuselyricanalysiswithmentalhealth

consumers.

37

Table7SettingWhereParticipantsUseLyricAnalysis(N=315)Setting n %MentalHealthSettingMedicalSettingSelfEmployed&PrivatePracticeGeriatricFacilityChildren’sFacilityOther

2287561452114

72.4%23.8%19.4%14.3%6.7%4.4%

Note.Responsesfor“other”included:dayrehabforadultswithintellectualanddevelopmentaldisabilities(IDD),Medicaidwaiverserviceprovider,physicaltherapypractice,correctionalfacility,state-runfacilityfordevelopmentaldisabledwithmultiplediagnoses,community-basedclinic,home-basedoutpatientcareforveteranswithTBIandPTSD,women’sempowerment,hospiceandpalliativecare,chronicpainandbereavement.Ofthe316musictherapistswhocompletedthesurveyandwereeligiblefor

inclusioninthestudy,285(90.2%)listedonetofiveoftheirmosteffectivesongsfor

lyricanalysiswithmentalhealthconsumers.Respondentsreportedatotalof1,333

songs,and700differentsongswereincludedinthesonglistresourceafter

accountingforduplicatesandnecessaryexclusions.SeeFigure1forasonginclusion

flowchart,andseeAppendixDforthefullsonglistresource.

38

Figure1.FlowofSongsIncludedinSongListResource

Atotalof283surveyrespondents(89.6%)listedtheprimarytreatment

theme/objectiveforonetofiveoftheirmosteffectivesongsforlyricanalysis.When

respondentswroteinmultipletreatmentthemes/objectivesforonesong,the

researcheronlyreportedthefirstone.Therewere1,314primarytreatment

themes/objectiveslisted.Afterduplicateswereaccountedforandsimilar

themes/objectivesweregroupedtogether,therewere134differenttreatment

themes/objectives.SeeTable8forthetwentymostfrequentlylisted

themes/objectives,andseeAppendixEforthecompletelist.

1333songslistedbysurveyrespondents

709differentsongs

624duplicates

9songsexcluded:Nolyrics/recording(4)Children'sbooks(4)Nolyrics(1)

700songsincludedinsonglistresource

39

Table8

TopTwentyPrimaryTreatmentThemes/Objectives

TreatmentTheme/Objective nFeelings/Emotions 78Copingskills 77Support 72Empowerment 58Addiction/Substanceabuse 55Self-esteem 54Change 49Relationships 49Identity 44Settingandachievinggoals 44Acceptance 42Self-examination 27Hope 26Motivation 25Overcomingobstacles 25Positivethinking 24DBTskills 23Mentalhealth/illness 23Grief/Loss 22Choices 21

Thesixmostfrequentlyaddressedtreatmentthemes/objectiveswere

feelings/emotions,copingskills,support,empowerment,addiction/substance

abuse,andself-esteem.

PrimaryResearchQuestion

Whataredistinguishingcharacteristicsofsonglyricsmostcommonlyusedforlyric

analysiswiththementalhealthpopulationasmeasuredbyLinguisticInquiryand

WordCount(LIWC)software?

40

Therewere48differentsongslistedbyfiveormoremusictherapistsastheir

mosteffectivesongsforlyricanalysiswiththementalhealthpopulation(SeeTable

9).

Table9

MostCommonlyUsedSongsforLyricAnalysisWiththeMentalHealthPopulation

Song n ArtistLetItBe 31 TheBeatles*(30)/PaulMcCartney(1)LeanonMe 29 BillWithersBridgeOverTroubledWater

25 SimonandGarfunkel*(22)/PaulSimon(2)/ArtGarfunkel(1)

ManintheMirror 20 MichaelJacksonBrave 16 SaraBareillesDrive 16 IncubusFightSong 16 RachelPlattenLandslide 16 FleetwoodMac*(13)/StevieNicks(3)WhataWonderfulWorld 13 LouisArmstrongICanSeeClearlyNow 12 JohnnyNash*(10)/JimmyCliff(2)Perfect*(10)/F**kin'Perfect(2)

12 P!nk

TheClimb 12 MileyCyrusBeautiful 11 ChristinaAguileraHurt 11 JohnnyCash*(6)/NineInchNails(5)Unwell 10 MatchboxTwentyIWon’tBackDown 9 TomPettyTimesLikeThese 9 FooFightersTrueColors 9 CyndiLauper*(6)/PhilCollins(3)You’veGotaFriend 9 CaroleKing*(4)/CaroleKing&James

Taylor(3)/JamesTaylor(2)3Things 7 JasonMraz7Years 7 LukasGrahamDemons 7 ImagineDragonsDesperado 7 EaglesDon’tWorry,BeHappy 7 BobbyMcFerrinHandinMyPocket 7 AlanisMorissetteStartingOver 7 Macklemore&RyanLewisTry 7 ColbieCaillatUndertheBridge 7 RedHotChiliPeppersBeOK 6 IngridMichaelson

41

Table9,continuedSong n ArtistCountOnMe 6 BrunoMarsDon’tStop 6 FleetwoodMacFirework 6 KatyPerryHuman 6 ChristinaPerriMyFavoriteThings 6 JulieAndrewsSay 6 JohnMayerStandbyMe 6 BenE.KingThreeLittleBirds 6 BobMarley&TheWailersAChangeIsGonnaCome 5 SamCookeAmazingGrace 5 hymnBlackbird 5 TheBeatlesBreathe(2AM) 5 AnnaNalickIHopeYouDance 5 LeeAnnWomackImagine 5 JohnLennonLostBoy 5 RuthBNumb 5 LinkinParkRiseUp 5 AndraDayShakeItOut 5 Florence+theMachineYouGottaBe 5 Des'reeNote.Forsongswithmorethanoneversionlistedbymusictherapists,onlythemostfrequentlylistedversionwasincludedintheLIWCanalysistoavoidlyricduplication.Analyzedversionsaredenotedbyanasterisk(*)forthosesongswithmultipletitlesormultipleartists.TheLIWC2015softwareanalyzedthe48mostcommonlyusedsongs,generating

wordcountdataacross82linguisticdomains.Meansandstandarddeviationsfor

eachdomainarereportedinAppendixF.Asidefromtotalwordcount,wordsper

sentence,andthefoursummarylanguagevariables,meansrepresentpercentagesof

totalwordcount.Thefoursummarylanguagevariablesarebasedonalgorithms

involvingotherLIWCdomainsandarereportedona100-pointscalerangingfrom0

to100(Pennebaker,Booth,Boyd,&Francis,2015).

42

Domainsofparticularinterestwereselectedbasedonpastresearchfindings

andontheresearcher’sassessmentofrelevancetothecurrentstudy.Meansand

standarddeviationsforthesedomainsarereportedbelowinTable10.

43

Table10

LIWCDomainsofInterest

LIWCDomains Mean SDWordcount 284.25 115.45SummaryLanguageVariables

Analyticalthinking 25.22 22.89Clout 53.21 35.45Authentic 73.34 31.95Emotionaltone 51.34 34.81GeneralDescriptors Dictionarywords 94.11 4.83StandardLinguisticDimensions

Personalpronouns 15.72 5.121stpersonsingular 8.98 5.481stpersonplural 0.77 1.442ndperson 5.15 4.633rdpersonsingular 0.29 0.653rdpersonplural 0.54 0.76Negations 2.94 3.56PsychologicalProcesses

Affectiveprocesses 6.96 5.34Positiveemotion 4.39 4.11Negativeemotion 2.54 2.59Socialprocesses 11.21 7.48Family 0.27 0.51Friends 0.4 0.82Cognitiveprocesses 11.84 5.62Perceptualprocesses 5.69 5.69Biologicalprocesses 2.32 1.59Sexual 0.03 0.12Drives 7.18 5.27Affiliation 1.89 2.11Timeorientations

Pastfocus 2.83 3.19Presentfocus 18.85 8.53Futurefocus 3.53 3.24Personalconcerns

Death 0.15 0.43Informallanguage 1.97 2.34Swearwords 0.07 0.19

44

WordCountandDictionaryWords.Totalwordcountwashighlyvariable

(M=284.25,SD=115.45),witharangeof102to633wordspersong.Onaverage,

94.11%ofallwordsinsonglyricswererecognizedbyLIWC2015dictionaries(SD=

4.83).

SummaryLanguageVariables.Thefoursummarylanguagevariableswere

calculatedbyLIWCasscoresonascaleof0to100.Songlyricsscoredlowoverallon

analyticalthinking(M=25.22,SD=22.89)andhighoverallonauthenticlanguage

(M=73.34,SD=31.95).Scoresforclout(M=53.21,SD=35.45)andemotionaltone

(M=51.34,SD=34.81)wereinthemiddle.

StandardLinguisticDimensions.Personalpronounsmadeup15.72%of

totalwordcount(SD=5.12).Thereweremorefirstpersonsingularpronouns(M=

8.98%,SD=5.48)thanallothertypesofpronounscombined,thoughsecondperson

pronounshadthenexthighestratebyfarat5.15%(SD=4.63).Negationsmadeup

2.94%ofwordcount(SD=3.56).

PsychologicalProcesses.Cognitiveprocesswords(M=11.84%,SD=5.62)

andsocialprocesswords(M=11.21%,SD=7.48)wereprominentinthesonglyrics,

thoughspecificsocialreferencestofamily(M=0.27%,SD=0.51)andfriends(M=

0.4%,SD=0.82)wererelativelylow.Affectiveprocesswordsmadeup6.96%of

wordcount(SD=5.34),andpositiveemotionwords(M=4.39%,SD=4.11)tended

tooutnumbernegativeemotionwords(M=2.54%,SD=2.54),thoughtherewas

somevariability.

Perceptualprocesswordsmadeup5.69%oftotalwordcount(SD=5.69),

andwordsrelatedtoseeing(M=2.88%,SD=4.86)outnumberedwordsrelatedto

45

hearing(M=1.56%,SD=3.67)andfeeling(M=1.11%,SD=1.16).Withinthe

biologicalprocesswordsdomain(M=2.32%,SD=1.59),sexualwordswerevery

infrequent(M=0.03%,SD=0.12).Allwordsrelatedtospecificdrivesormotives

madeup7.18%oftotalwordcount(SD=5.27),whilewordsspecificallyassociated

withaffiliationmadeup1.89%oftotalwordcount(SD=2.11).

Withregardtotimeorientations,presentfocuswords(M=18.85%,SD=

8.53)greatlyoutnumberedfuturefocuswords(M=3.53%,SD=3.24)andpast

focuswords(M=2.83,SD=3.19).Wordsrelatedtodeath(M=0.15%,SD=0.43)

werefairlyinfrequent,aswereswearwords(M=0.07,SD=0.19).

SecondaryResearchQuestion

Whatsongsdomusictherapistsdeemmosteffectiveforlyricanalysisintheirwork

withthementalhealthpopulation?

Surveyrespondentsreportedatotalof1,333songstheydeemedmost

effectiveforlyricanalysisinterventionswiththementalhealthpopulation.The

researcherincluded700differentsongsinthesonglistresourceafteraccounting

forduplicatesandnecessaryexclusions(SeeAppendixD).

46

CHAPTERFIVE

DISCUSSION

PrimaryResearchQuestion

Whataredistinguishingcharacteristicsofsonglyricsmostcommonlyusedforlyric

analysiswiththementalhealthpopulationasmeasuredbyLinguisticInquiryand

WordCount(LIWC)software?

TheLIWCanalysisofsongsmostcommonlyusedbymusictherapistsfor

lyricanalysiswiththementalhealthpopulationrevealedinterestinglinguistic

trendsalongavarietyofdomains.

WordCountandDictionaryWords

Wordcountforeachsongwashigherthan25,indicatingappropriatenessfor

LIWC2015analysis(Pennebaker,Boyd,etal.,2015).Furthermore,94%ofallwords

inthesonglyricswerecapturedbyLIWCdictionaries,whichisevenhigherthanthe

86%ofallwordsthatLIWC2015claimstocaptureingeneral(Pennebaker,Boyd,et

al.,2015).

SummaryLanguageVariables

Songlyricsmostcommonlyusedforlyricanalysiswithmentalhealth

consumersscoredlowoverallonanalyticalthinking,indicatingthattheywere

writteninamoreinformal,personal,here-and-now,andnarrativestyleasopposed

toamoreformal,logical,andhierarchicalstyle(Pennebaker,Booth,etal.,2015).

Thismakessense,sincesonglyricsaretypicallywritteninanarrativestyleandare

notconsideredtobeformalwriting.Althoughtheartisticmedium(song)may

47

largelyexplainthelowscore,itisimportanttonotethatsongsdonotautomatically

scorelowonanalyticalthinking.Thisisevidentinthevariabilityofmeanscores.

Musictherapistsmayfindthatsongswrittenmoreinformallywithagreaterfocus

onthehere-and-nowresonatewithmentalhealthconsumersandaregenerally

moreeffectiveinachievingclient/patientgoals.Theanalyticalthinkingscalewas

developedbasedonanalgorithmusedinpastresearchtomeasurecategorical

versusdynamicthinkinginwritingsamples(Pennebakeretal.,2014).Amore

dynamicthinkingstyle,whichcorrespondstoalowscoreontheLIWC2015

analyticalthinkingdomain,hasbeenassociatedwithsuicidalityinmusicians

(Markowitz&Hancock,2016).Mentalhealthconsumersmayconnectwithsongs

scoringlowonanalyticalthinkingbecausethewritingstyleconveysasimilarlevel

ofpsychologicaldistressastheseconsumersarecurrentlyexperiencing.Thismay

playintotheperceivedeffectivenessofthesesongsforlyricanalysis.

Songlyricsusedforlyricanalysisscoredhighontheauthenticdomain,

indicatingamorehonest,personal,anddisclosingwritingstyleasopposedtoa

moreguardedanddistancedwritingstyle(Pennebaker,Booth,etal.,2015).Lyric

analysisisfrequentlyusedasanon-threateningwaytoengagementalhealth

consumersinopeningupabouttheirownsituations,struggles,fears,andhopes.

Individualsaregenerallymorereceptivetopersonaldisclosurewhentheyfeela

senseoftrustandsafety.Itmayputclients/patientsmoreateaseandhelpwith

rapportbuildingwhensongswithgreatertransparencyandauthenticityarechosen

forlyricanalysis.

48

Cloutisalinguisticdomainreflectingtheconfidenceinawritingsample.A

highscorereflectsexpertiseandconfidenceinthewriting,whilealowscorereflects

tentativeness,humility,andanxietyinthewriting(Pennebaker,Booth,etal.,2015).

Songlyricsscoredinthemiddleoverall,butthehighvariabilitysuggeststhatthisis

duetovaryinglevelsofcloutbetweensongs.Musictherapistsmaychoosesongs

withvaryinglevelsofcloutfordifferentreasons.Songswithahighlevelofclout

maybedesirableforinspiringtrust,hope,andchangeinmentalhealthconsumers,

whilesongswithalowlevelofcloutmaybebetterforvalidatingcurrentconsumer

feelingsandexploringanxietyoralackofconfidenceintheconsumer.

Songlyricsalsoscoredinthemiddleontheemotionaltonedomain.High

emotionaltonereflectsapositive,upbeatwritingstyle,whilealownumberreflects

ananxious,sad,orhostilewritingstyle(Pennebaker,Booth,etal.,2015).Aswith

clout,therewasahighdegreeofvariabilityinthemeanscores.Somesongsreflected

amorepositiveemotionaltone,whileothersreflectedamorenegativeemotional

tone.Musictherapistsmayfindthatsongsreflectinghighpositivityaremore

effectiveincertaincontexts,whilesongsreflectinghighnegativityaremore

effectiveinothers.Thismayvarydependingonstageoftreatment,therapist-

consumerrapport,patient-preferredmusic,andtreatmentgoals.Intheearlystages

oftreatmentoratthebeginningofamusictherapysession,itmaybemosteffective

tomeetconsumerswheretheyareemotionallyforvalidation,rapportbuilding,and

initialexplorationoftherapeuticissues.Ifconsumersareinitiallyinaverynegative

headspaceorgenerallyprefertolistentomusicthatismore“moody,”itcouldbe

counterproductivetoinitiallyusemusicwithextremelypositiveandhopefullyrics

49

orinanon-preferredgenreorstyle.Usingmusicwithhighlypositivelyricswitha

clientwhoisexperiencingnegativeemotionscouldactuallybedamagingtothe

therapeuticrelationship,causingpatients/clientstocloseoffemotionally.When

consumersareready,songlyricsreflectingapositiveemotionaltonemaybemore

appropriateandhealing.Theemotionaltonescalewasbasedonanalgorithm

developedinapaststudytomeasurethelevelofoverallemotionalpositivityin

writingsamples(Cohnetal.,2004).Thispreviousstudyfoundthatindividuals

highlypreoccupiedwithatraumaticexperiencedisplayedlowerlevelsofpositivity

immediatelyfollowingthetraumabutgraduallyreturnedtobaselineratesof

emotionalpositivityoverthenexttwoweeks.Mentalhealthconsumersexperience

greaterdifficultywithemotionalpositivityduetonegativethoughtpatterns,

struggleswithhopelessness,andpoorcopingskills(Clark&Beck,2010).Ittypically

takeslongerfortheseconsumerstochangetheiroutlookfrompredominantly

negativetopredominantlypositive.Theseconsumerslikelyconnectmoredeeply

withsongsreflectingthenegativitywithwhichtheyarepreoccupied,leadingmusic

therapiststochoosesomesongswithnegativeemotionaltone.Althoughtheycan

inspiredeeptherapeuticdiscussionleadingtonewinsightsincertaincontexts,

negativesonglyricsmayalsoperpetuatenegativeruminationtendenciesinmental

healthconsumers.Lyricswithmoreemotionalpositivitymaysometimesbemore

effectiveinhelpingconsumerstakeanewperspectiveandbreakfreefromnegative

cycles.

50

StandardLinguisticDimensions

Therelativelyhighrateoffirstpersonsingularpronounsincomparisonwith

otherpersonalpronounsindicatesahighlevelofself-focusedattentioninsong

lyrics.Thefocusofthelyricsison“me”asopposedto“him/her/them”or“you.”

Thissuggeststhatthemostcommonlyusedsongsforlyricanalysiswiththemental

healthpopulationaregenerallywritteninfirstperson.Songswritteninfirstperson

maybeeasierformentalhealthconsumerstorelatetoandprojecttheirexperiences

uponduetothetendencyoftheseindividualstobemoreself-preoccupied

(Pyszcynski&Greenberg,1987).Highratesoffirstpersonsingularpronounuse

havebeenassociatedinpastresearchwithmentalillness(Margolaetal.,2010;

Markowitz&Hancock,2016;Rudeetal.,2004;Stirman&Pennebaker,2001),

supportingtheself-focustheory.

Secondpersonpronounswerethesecondmostprominenttypeofpersonal

pronounsfoundintheanalyzedsonglyrics.Theymadeup5.15%oftotalword

count,whichisveryhighincomparisonwiththe0.68%foundinexpressivewriting

samples(Pennebaker,Boyd,etal.,2015),thoughitisimportanttonotethatonlythe

meanswerereportedforpronounuseinexpressivewritingsamples,andnotthe

standarddeviations.Inpastresearch,higherratesofsecondpersonpronounshave

beenpredictiveoflower-qualityrelationships(Tausczik&Pennebaker,2010).

Songsreferencing“you”and“your”mostfrequentlymaybemoreblamingand

confrontationalinnature.Mentalhealthconsumersmayrelatemorecloselywith

songswritteninthisstyle.Whilethismaybethecase,itisalsoimportantto

considerthatmusictherapistsmaypicksongswithahighrateofsecondperson

51

pronounssimplybecausetheyconveyaclearmessagedirectlytothelistener.The

messagecouldbepositive(e.g.,“youarebeautiful”)asopposedtoconfrontationalor

blaming.

Negationsarewordslike“no,”“never,”and“not”thatmayinfluencethe

accuracyofotherlinguisticcategorypercentages.Forexample,thephrase,“Iamnot

sad”wouldbescoredbyLIWCascontainingonenegativeemotionwordandno

positiveemotionwordseventhoughtheoverallmessageofthephraseispositive.

Closeto3%ofallwordsinthemostcommonlyusedsongswerenegations.Thisis

highcomparedtothe1.69%foundinanexpressivewritingsamplereportedonby

Pennebaker,Boyd,etal.intheircalculationofbaseratesofwordusagefor

LIWC2015(2015).Nostandarddeviationwasreportedfortheexpressivewriting

sample,however,sotruecomparisonislimited.

PsychologicalProcesses

Over20%ofallwordsinthesonglyricsmostcommonlyusedbymusic

therapistsrelatedtocognitiveandsocialprocesses.Thecognitiveprocessesdomain

consistsofthefollowingsub-categories:insight,causation,discrepancy,

tentativeness,certainty,anddifferentiation.Therateofcognitiveprocesswordsina

writingsampleoffersaglimpseintohowthewriterisprocessingandinterpreting

informationinordertomentallyorganizetheirenvironment(Tausczik&

Pennebaker,2010).Higherratesofcognitiveprocesswordshavebeenassociated

withpositivecopingandrecoveryfromtrauma(Margolaetal.,2010;Pennebakeret

al.,2003).Musictherapistsmayfindthatsongswithmorecognitiveprocesswords

52

encouragementalhealthconsumerstochallengecurrentthoughtpatternsand

developgreaterinsightintotheirownsituations.

Isolationisacommonstruggleformentalhealthconsumers,andsongswith

highratesofsocialprocesswordsmaybedesirableforincreasingsocializationor

facilitatingconversationaboutsupportsystems.Whilesocialprocesswordswere

prominentinthesonglyrics,itisinterestingtonotethatreferencestofamilyand

friendswereverylow.Sometimesfamilymembersandcurrentfriendscanbe

unsafepeopleforindividualswithmentalillness,andencouragingabroader

discussionaboutdevelopingnewsupportsystemscanbemorehealthyand

productivethandwellingoncurrentunhealthyrelationships.Thismayplayintothe

lowfamilyandfriendreferencesfoundinthemostcommonlyusedsonglyrics.Also,

itisimportanttoconsiderhowtherateofsecondpersonpronounscaninfluence

theinterpretationofthesocialprocessesdomain.Manyofthewordscalculated

withinthesocialprocessesdomainmayhavebeensecondpersonpronouns,which

actuallyreflectpoor-qualityrelationships.

Affectiveprocesswordswerelessfrequentthancognitiveprocesswordsand

socialprocesswords,thoughthemeanrate(6.96%)wasstillhigherthanthemean

rateforaffectiveprocesswordsinexpressivewritingsamples(M=4.77%)

(Pennebaker,Boyd,etal.,2015).Emotionregulation,expression,andexploration

aresoimportantformentalhealthconsumersandfeelings/emotionswasthemost

frequentlyreportedtreatmenttheme/objectiveaddressedbymusictherapistsin

thecurrentsurvey,soitissomewhatsurprisingthattherateofaffectiveprocess

wordswasnothigher.Thismaybeatleastpartiallyexplainedbymusicasaunique

53

mediumofemotionalexpression.Musichastheabilitytovividlyrelayandeven

induceemotioninitslisteners,butthishastodowithmuchmorethansonglyrics

alone.Musicalelementssuchastimbre,rhythm,tempo,melody,harmony,

dynamics,andstylegreatlyaffecttheoverallmoodofasongandmustbecarefully

consideredwhenselectingappropriatemusicforusewithmentalhealthconsumers

(Hanson-Abromeit,2015).Additionally,withrelationtosonglyrics,literarydevices

andlinguisticelementsbesidesovertemotionreferencesmaybeusedtoconvey

emotion.Withintheaffectiveprocessesdomain,positiveemotionwordswereused

morefrequentlythannegativeemotionwords,thoughtherewashighvariabilityin

bothcategories.Pastwritingstudieshaveshownthathighratesofpositiveemotion

wordsandmoderateratesofnegativeemotionwordsarepredictorsofphysical

health(Pennebaker,1997).Itseemsthattheexpressionofnegativeemotionis

extremelyimportantinprocessingdifficultiesuptoapoint,pastwhichitcanbe

unproductiveandleadtopoorerhealth.

Songlyricsmostcommonlyusedforlyricanalysiswithmentalhealth

consumerscontainedahighrateofperceptualprocesswords(M=5.69%)when

comparedwiththemeanrateof2.38%foundinexpressivewritingsamples,though,

again,thiscomparisonmustbemadetentativelyduetothelackofstandard

deviationsreportedforexpressivewritingsamples(Pennebaker,Boyd,etal.,2015).

Perceptualprocesswordsmayhelplistenerstobetterconnectwithsonglyricsby

referencingwhatthesongwriterormaincharacterisseeing,hearing,andfeelingin

agivenmoment.Musictherapistsmaychoosesongswithhigherratesofperceptual

processwordswhentheywantmentalhealthconsumerstoidentifycloselywitha

54

songortoimaginewhatitmightbeliketoexperiencewhatishappeninginasong.

Conversely,musictherapistsmaychoosesongswithlowerratesofperceptual

processwordsifthethematiccontentmaybetriggeringforemotionallyfragile

consumersorifthesongisintendedtosupplyapoint-of-viewthatthemusic

therapistwantsconsumerstodisassociatefrom.

Sexualwordswereveryinfrequentwithinthebiologicalprocessesdomain.

Musictherapistsmayfindthatsongswithahighrateofsexualwordsare

inappropriateorunnecessaryinmanytherapeuticcontexts.Inarecentsurveyon

thecurrentstateofcensorshipinadultpsychiatricmusictherapypractice,music

therapistsreportedcensoringsexualthemesandlyricscontaining“sexual

references”and“explicitsexuality”(Joplin&Dvorak,2016).

Withinthetimeorientationscategory,presentfocuswordsweremuchmore

commonthanfuturefocusorpastfocuswords.Songswithagreaterfocusonthe

presentmaybemostcommonlyusedforlyricanalysiswithmentalhealth

consumersduetothenatureoftreatment.Currentmentalhealthcaredeliveryhas

shiftedtowardsshort-termacuteinpatientstays,wheretherapyisdeliveredina

primarilysingle-sessionmodel(Eyre&Lee,2015).Thefocusisgenerallyon

immediateneedsandconcerns;therefore,songsthatfocusonthepresentas

opposedtothepastorfuturemaybemosteffectiveatmeetingthoseneeds.Thisis

nottosaythatdependingonthesetting,specificconsumerneeds,andtimeframe

availablefortreatment,itmightnotbeappropriatetousesongswithmorepastor

futurereferences.Itcanbeextremelyvaluableformentalhealthconsumerstodelve

intopastissuesoreventsandtothinkaboutthefuture.

55

Songsmostcommonlyusedforlyricanalysiswiththementalhealth

populationcontainedveryfewdeath-themedwordsandswearwords.Music

therapistsmaybewaryofusingsongswithhighratesofdeath-themedwordswitha

populationthatissopronetosuicidalideationandsuicideattempt.Whilesongs

thatopenlyreferencedeathmaybeappropriateandeffectiveincertaincontexts,

musictherapistsappeartousesongwithoutthesereferencesmuchmore

frequently.Thelowrateofswearwordsreflectstrendsofcensorshipincurrent

practice(Joplin&Dvorak,2016).

SecondaryResearchQuestion

Whatsongsdomusictherapistsdeemmosteffectiveforlyricanalysisintheirwork

withthementalhealthpopulation?

Surveyrespondentsreported700differentsongsthattheydeemedmost

effectiveforlyricanalysisintheircurrentworkwithmentalhealthconsumers.

Whiletherewassomeoverlapinthesongsmusictherapistsreported,73%ofthe

songswereonlylistedbyonemusictherapist.Thisshowsthatmusictherapistsare

incorporatingawidevarietyofsongsintotheirpracticewithmentalhealth

consumers.Itisalsoworthnotingthatseveralsurveyrespondentsreportedusing

originalsongsforlyricanalysis.

Limitations

Thecurrentstudyposedseverallimitations.Surveyresearchrelieson

participantself-report,andthereisnowaytoknowwhetherparticipantsprovided

accurateandunbiasedresponses.Additionally,thesurveytoolwasemailedtoa

totalof6,757musictherapists;however,thereisnowaytoknowhowmanyof

56

thesepotentialparticipantsworkwithmentalhealthconsumersanduselyric

analysis.Whiletheresponseratewasgoodinrelationtotheestimateofeligible

participants,itwasverylowinrelationtothetotalnumberofmusictherapists

initiallyinvitedtoparticipate.

Theonlinenatureofthesurveyposedproblemsforseveralmusictherapists

whoreporteddifficultieswiththesurveylink.Also,theresearcherreceivedmultiple

automatedemailrepliesstatingthatthepotentialparticipantwasoutoftheoffice

foraperiodoftime.Thismayhaveincreasedthechancesofsurveysgettinglostin

inboxesorspamfolders.

Anotherlimitationofthecurrentstudyrelatestothesurveycoverletter.The

researcherrealizedduringdataanalysisthatanearlierversionofthesurveycover

letterwasaccidentallysentouttoparticipants.Theearlierversionofthecover

letterstatedthatallmusictherapistswhousedlyricanalysiswereeligibleto

participateinthesurvey,regardlessofthepatient/clientpopulationwithwhich

theyworked.Theinstructionslistedontheactualsurveyinstructedparticipantsto

discontinuethesurveyiftheydidnotcurrentlyworkwiththementalhealth

population.Thecontradictionbetweenthecoverletterandthesurveymayhave

causedconfusionforrespondents,resultinginalargenumberofmusictherapists

continuingtofilloutthesurveyafteranswering“no”totheinitialquestionasking

aboutcurrentworkusinglyricanalysiswiththementalhealthpopulation.The

musictherapistwasabletoexcludeallmusictherapistswhodidnotreport

currentlyusinglyricanalysiswiththementalhealthpopulationfromdataanalysis,

sothedatawasstillvalidforthecurrentstudy.Still,thisoversightlikelycaused

57

confusionforparticipantsandmayhaveevendeterredpotentialrespondentsfrom

participating.

Thisstudywasexploratoryinnature,soresultsmustbeinterpretedwith

caution.Thestudywasdesignedtogaingeneralinformationregardinglinguistic

trendsinsonglyricsmostcommonlyusedforlyricanalysiswiththementalhealth

populationinordertoinformfutureresearch.Thereisaneedtofurthervalidate

LIWCasatoolforstudyingsonglyriccontent,particularlyasrelatedtomusic

therapypractice.

SuggestionsforFutureResearch

Thecurrentresearchstudywasdesignedtocollectpreliminaryinformation

onlinguisticcharacteristicsofsonglyricsmostcommonlyusedforlyricanalysis

withthementalhealthpopulation.Theexploratoryoutcomescanserveasastarting

pointformorefocusedresearchinthefuture.Futurestudiescouldcomparesong

lyricschosenbymusictherapistsforlyricanalysisinmentalhealthpracticewith

topBillboardhitsfromcorrespondingdecadestoseeifthereareanysignificant

differencesorifthedistinguishingcharacteristicsidentifiedbythepresentstudyare

consistentwithpopularmusicingeneral.

Additionally,futureresearchmightinvestigatethefeasibilityofusingLIWC

asatooltohelpmusictherapistswithappropriatesongselection.Whiletherapist

judgmentwillalwaysbecrucial,theremaybewaysinwhichLIWCcouldassistin

thesongselectionprocess.Itwouldbeinterestingtolookforcorrelationsbetween

specificlinguisticdomainsandtreatmentthemesandobjectivesreportedforsongs.

58

Futureresearchshouldlookintowhatsongsmentalhealthconsumers

perceiveasbeingmosteffective.Itisimportanttoconsidertheconsumerin

treatmentplanningsothatthetherapistandconsumercanworktogethertoachieve

thebestpossibleoutcomes.Itwouldbeinterestingtoseeifthesongsperceivedas

mosteffectivebymusictherapistscontainsimilarlinguisticprofilestosongs

perceivedasmosteffectivebymentalhealthconsumers.

ImplicationsforCurrentPractice

Becausemusicisthetherapeuticmediumforchangewithinmusictherapy,

songselectionisincrediblyimportant.Thetherapeuticfunctionofsonglyrics

shouldbecarefullyconsideredwhenchoosingsongsforlyricanalysiswiththe

mentalhealthpopulation.Whileresultsofthecurrentstudyshouldbeinterpreted

withcautionandusedasthebasisforfutureresearch,theyalsoofferimplications

forclinicalpracticeinmusictherapy.First,thelinguisticdomainsexploredinthe

currentstudymightbehelpfulformusictherapiststoconsiderwhenselecting

appropriatesongsforlyricanalysiswithmentalhealthconsumers.Whilemost

musictherapistswillnothaveaccesstotheLIWCsoftware,norwillthisaccess

necessarilybehelpfulatthisstageintheresearch,therapistscanlookatsonglyrics

togetageneralideaaboutlinguisticelementslikepositiveandnegativeemotion

words,personalpronouns,past/present/futurefocuswords,cognitiveprocess

words,andsocialprocesswords.

Additionally,thesonglistresourcemaybeusedbymusictherapiststofind

songsthatothertherapistsreportasbeingeffectivewiththementalhealth

population.Individualtherapistjudgmentisstillincrediblyimportant,butthesong

59

listresourcecouldbehelpfulforfindingnewsongsrelevanttomentalhealth

consumers.

Asthenumberofmusictherapistsworkingwiththementalhealth

populationgrows,itiscrucialthatmusictherapistshavethenecessarytoolsto

providethebestpossibletreatment.Sincelyricanalysisisoneofthemost

commonlyusedmusictherapyinterventionswiththispopulation,moreresearchon

appropriatesongselectionisneeded.Theresearcherhopesthatthecurrentstudy

providesabetterunderstandingofcurrentsongselectionpracticesforlyricanalysis

withthementalhealthpopulation.

60

AppendixA:IRBExemptionCertification

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AppendixB:SurveyCoverLetter

DearCBMTMember,StudyOverviewYouarebeinginvitedtoparticipateinaresearchstudylookingattheuseoflyricanalysiswithmentalhealthconsumersacrosssettings.Specifically,thisstudywillexaminethelinguisticelementsofsonglyricsusedforlyricanalysiswithconsumerswithmentalhealthdiagnoses.Youwereselectedbecauseyouareaboard-certifiedmusictherapistwhooptedtoreceiveemailsthroughtheCBMT.ThisstudyisaresearchprojectconductedbyAshleyMiller,MT-BC,tofulfillherthesisrequirementsaspartofthemaster’sdegreeprogramattheUniversityofKentucky.Yourparticipationinthissurveywillhelpadvancethefieldofmusictherapybyprovidingabetterunderstandingofsongselectionforlyricanalysiswithconsumerswithmentalhealthdiagnoses.Whatwillyoubeaskedtodo?Ifyouagreetoparticipate,youwillcompleteabriefsurveyaboutyourworkinanysettingwhereyouuselyricanalysiswithmentalhealthconsumers.Youwillbeaskedaboutyourmosteffectivesongsforlyricanalysiswithmentalhealthconsumers.Thesurveywilltakeabout5-10minutestocomplete.Yourparticipation,completion,andsubmissionofthissurveywillindicateyourconsenttotakepartinthisresearchstudy.Youranswersareimportantinprovidinganaccuraterepresentationofsongsmostfrequentlyusedbymusictherapistsforlyricanalysiswithconsumerswithmentalhealthdiagnoses.Ofcourse,youhaveachoiceaboutwhetherornottocompletethesurvey,butifyoudodecidetoparticipate,youarefreetoskipanyquestionsordiscontinueatanytime.Youwillnotbepaidfortakingpartinthisstudy.Therearenoknownriskstoparticipatinginthisstudy.Yourresponsestothesurveyareanonymous,whichmeansnonameswillappearorbeusedonresearchdocuments,inpresentations,orinpublications.Theresearchteamwillnotknowwhetherornotyouparticipatedinthestudyorthatanyinformationyouprovidedcamefromyou.Pleasebeaware,whilewemakeeveryefforttosafeguardyourdataoncereceivedonourserversviaREDCap,giventhenatureofonlinesurveys,aswithanythinginvolvingtheInternet,wecanneverguaranteetheconfidentialityofthedatawhilestillenroutetous.

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ContactsIfyouhaveanyquestionsaboutthestudy,pleasefeelfreetocontactmeusingtheinformationprovidedbelow.Ifyouhavecomplaints,suggestions,orquestionsaboutyourrightsasaresearchvolunteer,contactthestaffintheUniversityofKentuckyOfficeofResearchIntegrityat859-257-9428ortoll-freeat1-866-400-9428.Thankyouinadvanceforyourassistancewiththisimportantproject.Toensureyourresponses/opinionswillbeincluded,pleasesubmityourcompletedsurveyby______________.Sincerely,AshleyMiller,MT-BCDepartmentofMusicTherapyUniversityofKentucky(812)344-6913ashley92marie@uky.eduOliviaYinger,PhD,MT-BCThesisAdvisorUniversityofKentucky(859)218-0997olivia.yinger@uky.edu

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AppendixC:Survey

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65

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AppendixD:LyricAnalysisandMentalHealthSongListResource

Song n ArtistLetItBe 31 TheBeatles(30)/PaulMcCartney(1)LeanonMe 29 BillWithersBridgeOverTroubledWater 25 SimonandGarfunkel(22)/Paul

Simon(2)/ArtGarfunkel(1)ManintheMirror 20 MichaelJacksonBrave 16 SaraBareillesDrive 16 IncubusFightSong 16 RachelPlattenLandslide 16 FleetwoodMac(13)/StevieNicks(3)WhataWonderfulWorld 13 LouisArmstrongICanSeeClearlyNow 12 JohnnyNash(10)/JimmyCliff(2)Perfect(10)/F**kin'Perfect(2) 12 P!nkTheClimb 12 MileyCyrusBeautiful 11 ChristinaAguileraHurt 11 JohnnyCash(6)/NineInchNails(5)Unwell 10 MatchboxTwentyIWon’tBackDown 9 TomPettyTimesLikeThese 9 FooFightersTrueColors 9 CyndiLauper(6)/PhilCollins(3)You’veGotaFriend 9 CaroleKing(4)/CaroleKing&James

Taylor(3)/JamesTaylor(2)3Things 7 JasonMraz7Years 7 LukasGrahamDemons 7 ImagineDragonsDesperado 7 EaglesDon’tWorry,BeHappy 7 BobbyMcFerrinHandinMyPocket 7 AlanisMorissetteStartingOver 7 Macklemore&RyanLewisTry 7 ColbieCaillatUndertheBridge 7 RedHotChiliPeppersBeOK 6 IngridMichaelsonCountOnMe 6 BrunoMarsDon’tStop 6 FleetwoodMacFirework 6 KatyPerryHuman 6 ChristinaPerriMyFavoriteThings 6 JulieAndrewsSay 6 JohnMayerStandbyMe 6 BenE.KingThreeLittleBirds 6 BobMarley&TheWailersAChangeIsGonnaCome 5 SamCooke

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Song n ArtistAmazingGrace 5 hymnBlackbird 5 TheBeatlesBreathe(2AM) 5 AnnaNalickIHopeYouDance 5 LeeAnnWomackImagine 5 JohnLennonLostBoy 5 RuthBNumb 5 LinkinParkRiseUp 5 AndraDayShakeItOut 5 Florence+theMachineYouGottaBe 5 Des'ree(Sittin’On)TheDockOfTheBay 4 OtisReddingAmazing 4 AerosmithChangeYourMind 4 SisterHazelCreep 4 RadioheadFear 4 BlueOctoberHaveYouEverSeentheRain 4 CreedenceClearwaterRevivalIAmaRock 4 SimonandGarfunkelIt’sBeenAwhile 4 StaindKeepYourHeadUp 4 AndyGrammerLiveLikeYouWereDying 4 TimMcGrawMirror 4 LilWayne,feat.BrunoMarsOtherside 4 Macklemore&RyanLewisRise 4 KatyPerryTakeMeHome,CountryRoads 4 JohnDenverUnwritten 4 NatashaBedingfieldWakeMeUp 4 AviciiWithaLittleHelpfromMyFriends 4 TheBeatlesYouCan’tAlwaysGetWhatYouWant

4 TheRollingStones

Angel 3 SarahMcLachlanBehindBlueEyes 3 TheWhoBrandNewMe 3 AliciaKeysBreakaway 3 KellyClarksonDearMama 3 2PacDon’tFenceMeIn 3 RoyRogersFireandRain 3 JamesTaylorFixYou 3 ColdplayHallofFame 3 TheScript,feat.will.i.amHallelujah 3 LeonardCohenHands 3 JewelHappy 3 PharrellWilliamsHelp! 3 TheBeatles

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Song n ArtistHome 3 PhillipPhillipsHomeOntheRange 3 traditionalHotelCalifornia 3 EaglesIBelieveICanFly 3 R.KellyICan 3 NasIGotaName 3 JimCroceIWillSurvive 3 GloriaGaynorMean 3 TaylorSwiftMoonshadow 3 CatStevensNotAfraid 3 EminemOldMan 3 NeilYoungRoar 3 KatyPerrySentimentalJourney 3 DorisDayShakeItOff 3 TaylorSwiftSkyscraper 3 DemiLovatoStrength,Courage,andWisdom 3 India.ArieSuperheroes 3 TheScriptSwim 3 Jack'sMannequinTheRiver 3 GarthBrooksTheWorld’sGreatest 3 R.KellyTitanium 3 DavidGuetta,feat.SiaUpontheRoof 3 TheDrifters(2)/CaroleKing(1)What’sGoingOn 3 MarvinGayeWhateverWillBe,WillBe(QueSera,Sera)

3 DorisDay

WhoYouAre 3 JessieJAtThisPointInMyLife 2 TracyChapmanBadDay 2 DanielPowterBeHereNow 2 RayLaMontagneBeautiful 2 EminemBeforeHeCheats 2 CarrieUnderwoodBein’Green 2 TheMuppetsBlowin’intheWind 2 BobDylanBlueSkies 2 WillieNelsonBothSides,Now 2 JoniMitchellBoulevardOfBrokenDreams 2 GreenDayCarRadio 2 twentyonepilotsCarryOn 2 fun.Change 2 TracyChapmanChanges 2 DavidBowieComfortablyNumb 2 PinkFloydConcreteAngel 2 MartinaMcBride

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Song n ArtistConfident 2 DemiLovatoDarkSide 2 KellyClarksonDearYoungerMe 2 MercyMeDon’tBeSoHardOnYourself 2 JessGlynneDon’tLetMeBeMisunderstood 2 NinaSimoneDon’tStopBelievin’ 2 JourneyDriftAway 2 DobieGray(1)/UncleKracker(1)DustintheWind 2 KansasEverybody 2 IngridMichaelsonEverybodyHurts 2 R.E.M.EyeoftheTiger 2 SurvivorFamilyPortrait 2 P!nkFloatOn 2 ModestMouseGoldInThemHills 2 RonSexsmithGoodRiddance(TimeofYourLife) 2 GreenDayHello 2 AdeleHereComestheSun 2 TheBeatles(1)/Yo-YoMa,feat.

JamesTaylor(1)HomeIsWheretheHatredIs 2 GilScott-HeronIAmLight 2 India.ArieILived 2 OneRepublicIShotTheSheriff 2 BobMarley&TheWailers(1)/Eric

Clapton(1)ITried 2 BoneThugs-n-Harmony,feat.AkonIfIWereBrave 2 JanaStanfieldIfYou’reGoingThroughHell(BeforeTheDevilEvenKnows)

2 RodneyAtkins

InMyLife 2 TheBeatlesJusttheWayYouAre 2 BillyJoelKingofAnything 2 SaraBareillesLearningtoFly 2 TomPettyandtheHeartbreakersLeavingonaJetPlane 2 JohnDenverLithium 2 NirvanaLivingInTheMoment 2 JasonMrazLoseYourself 2 EminemLovetheWayYouLie 2 Eminem,feat.RihannaMyCityNeedSomething 2 PnBRockMyNextThirtyYears 2 TimMcGrawMyWay 2 FrankSinatraNoMoreDrama 2 MaryJ.BligeOneDay 2 MatisyahuOvertheRainbow 2 JudyGarland

70

Song n ArtistPeacefulEasyFeeling 2 EatlesPerfect 2 SimplePlanPuff,theMagicDragon 2 Peter,Paul&MaryRadioactive 2 ImagineDragonsRide 2 twentyonepilotsRipple 2 GratefulDeadScarstoYourBeautiful 2 AlessiaCaraSecrets 2 MaryLambertShineOn 2 DaisyMayErlewineSimpleMan 2 LynyrdSkynyrdSmile 2 NatKingColeStressedOut 2 twentyonepilotsTheBalladofLoveandHate 2 TheAvettBrothersTheCave 2 Mumford&SonsTheCircleGame 2 JoniMitchellTheHeartoftheMatter 2 DonHenleyTheHouseThatBuiltMe 2 MirandaLambertTheRose 2 BetteMidlerTheTracksofMyTears 2 SmokeyRobinsonThisLittleLightofMine 2 traditionalThroughtheRain 2 MariahCareyTomorrowWillBeKinder 2 TheSecretSistersUmbrella 2 Rihanna,feat.JayZUnsteady 2 XAmbassadorsWeAreTheChampions 2 QueenWeCanWorkItOut 2 TheBeatlesWhatIAm 2 will.i.amWithYourFaceToTheWind(Harriet’sSong)

2 Peter,Paul&Mary

YouAreMySunshine 2 ThePineRidgeBoys(ARhyme)ThisTime 1 AlJarreau(ICan’tGetNo)Satisfaction 1 TheRollingStones100Years 1 FiveForFightingABeautifulDay 1 India.ArieABetterSon/Daughter 1 RiloKileyABrokenWing 1 MartinaMcBrideAChangeinMe 1 SusanEganALivingPrayer 1 AlisonKrauss&UnionStationANewLife 1 JimJamesAPlaceintheSun 1 StevieWonderAboveTheBones 1 MishkaAC-Cent-Tchu-AtethePositive 1 JohnnyMercer&ThePiedPipers

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Song n ArtistAcrosstheUniverse 1 TheBeatlesAdam’sSong 1 blink-182Ain’tNoSunshine 1 BillWithersAllAroundMe 1 FlyleafAllAtOnce 1 JackJohnsonAllThingsMustPass 1 GeorgeHarrisonAllThisJoy 1 JohnDenverAndSoItGoes 1 BillyJoelAngelFromMontgomery 1 JohnPrineAngels 1 ChancetheRapper,feat.SabaAngry 1 MatchboxTwentyAnotherDaytoRun 1 BillWithersAnotherRainbow 1 BabaB.Apologize 1 OneRepublicAuldLangSyne 1 traditionalAutumnLeaves 1 EdSheeranAwakeMySoul 1 Mumford&SonsBagLady 1 ErykahBaduBasketCase 1 GreenDayBattleScars 1 LupeFiasco&GuySebastianBeHereNow 1 MasonJenningsBeSoHappy 1 HeartlessBastardsBeautifulDay 1 U2BeautifulEmilie 1 KeziahJonesBeautifulFlower 1 India.ArieBeautifulPain 1 Eminem,feat.SiaBecauseofYou 1 KellyClarksonBent 1 MatchboxTwentyBestDayofMyLife 1 AmericanAuthorsBetterDays 1 GooGooDollsBetweenYouandMe 1 dcTalkBlesstheBrokenRoad 1 RascalFlattsBlessings 1 LauraStoryBloodBrothers 1 LukeBryanBlowin’Smoke 1 KaceyMusgravesBornThisWay 1 LadyGagaBoxofRain 1 GratefulDeadBoyOnAString 1 JarsofClayBrandNewName 1 SarahJahnBreakDownTheWalls 1 AskingAlexandriaBreakTheShell 1 India.ArieBreakingtheHabit 1 LinkinPark

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Song n ArtistBreathe 1 AlexiMurdochBreatheIn,BreatheOut,MoveOn 1 JimmyBuffettBreatheMe 1 SiaBringMetoLife 1 EvanescenceBringOnTheRain 1 JoDeeMessinaBroccoli 1 D.R.A.M.,feat.LilYachtyBroken 1 LindseyHaunBumpInTheRoad 1 JonnyLangBurningGold 1 ChristinaPerriButterflyFlyAway 1 MileyCyrusCallandAnswer 1 BarenakedLadiesCan’tFightThisFeeling 1 REOSpeedwagonCarolinainMyMind 1 JamesTaylorCarryMe 1 PapaRoachCarryOnWaywardSon 1 KansasCat’sintheCradle 1 HarryChapinChange 1 BlindMelonChange 1 JackJohnsonChangeIsGonnaCome 1 NorahJonesChiquitita 1 ABBAChoices(Yup) 1 E-40Clarity 1 JohnMayerCoatOfManyColors 1 DollyPartonCodeofSilence 1 BillyJoel,feat.CyndiLauperColors 1 KiraWilleyColorsoftheWind 1 JudyKuhnComeSailAway 1 StyxComingHome 1 Diddy-DirtyMoney,feat.SkylarGreyCoughSyrup 1 YoungtheGiantCrayolaDoesn’tMakeAColorForYourEyes

1 KristinAndreassen

Crazy 1 PatsyClineDancingintheDark 1 BruceSpringsteenDandelion 1 KaceyMusgravesDay‘n’Nite(Nightmare) 1 KidCudiDaysofElijah 1 RobinMarkDearPTSD 1 SoldierHardDearX,YouDon’tOwnMe 1 DiscipleDefyingGravity 1 IdinaMenzel,feat.KristinChenowethDoItNow 1 IngridMichaelsonDo-Re-Mi 1 JulieAndrewsDonJuan’sRecklessDaughter 1 JoniMitchell

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Song n ArtistDon’tEverLetNobodyDragYourSpiritDown

1 EricBibb

Don’tLaughAtMe 1 MarkWillsDon’tLookBack 1 BostonDon’tThinkTwice,It’sAllRight 1 BobDylanDowninaHole 1 AliceinChainsDrugBallad 1 EminemDrugDealer 1 MacklemoreDustMyBroom 1 B.B.KingEasy 1 CommodoresElCondorPasa(IfICould) 1 SimonandGarfunkelElasticHeart 1 SiaEnoughIsEnough 1 EliYoungBandEverybodyWantstoRuletheWorld 1 TearsforFearsExcessBaggage 1 StaindFaithfully 1 JourneyFallBackDown 1 RancidFallIntoMe 1 SugarlandFallin’ 1 AliciaKeysFallingSlowly 1 GlenHansard,feat.MarketaIrglovaFamily 1 DollyPartonFarAway 1 Tyga,feat.ChrisRichardsonFastCar 1 TracyChapmanFatherAndSon 1 CatStevensFeelsLikeHome 1 ChantalKreviazukFly 1 NickiMinajFlyOnTheWall 1 ThousandFootKrutchForYou 1 StaindForça 1 NellyFurtadoForgetAndNotSlowDown 1 RelientKForkintheRoad 1 MaryaStarkFountainofSorrow 1 JacksonBrowneFragile 1 StingFree 1 ZacBrownBandFreewill 1 RushFriction 1 ImagineDragonsFriends 1 BetteMidlerFriendsinLowPlaces 1 GarthBrooksFromThisValley 1 TheCivilWarsGetBackUpAgain 1 AnnaKendrickGetOutTheMap 1 IndigoGirlsGetOverIt 1 Eagles

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Song n ArtistGettingBetter 1 TheBeatlesGhost 1 EllaHendersonGimmeThreeSteps 1 LynyrdSkynyrdGirlOnFire 1 AliciaKeysGoRestHighOnThatMountain 1 VinceGillGodWill 1 LyleLovettGold 1 BrittNicoleGoodDay 1 NappyRootsGoodbyeMyFriend 1 LindaRonstadtGottoBeginAgain 1 BillyJoelGraduation(FriendsForever) 1 VitaminCHabits(StayHigh) 1 ToveLoHandlebars 1 FlobotsHappiness 1 TheFrayHardTimes 1 JamieOwensCollinsHardTimesComeAgainNoMore 1 traditionalHardtoSayI’mSorry 1 ChicagoHarryHippie 1 BobbyWomackHateMe 1 BlueOctoberHeadFullOfDoubt/RoadFullOfPromise

1 TheAvettBrothers

HeadedintheRightDirection 1 India.ArieHeadlights 1 EminemHeartofGold 1 NeilYoungHelpIsRoundTheCorner 1 ColdplayHere 1 AlessiaCaraHero 1 MariahCareyHeroes(WeCouldBe) 1 AlessoHeyJoe 1 TheJimiHendrixExperienceHeyJude 1 TheBeatlesHiddenOnes 1 MissyHigginsHitMeWithYourBestShot 1 PatBenatarHoldMyHand 1 Hootie&theBlowfishHoldOn 1 AlabamaShakesHoldOn 1 WilsonPhillipsHoldYourHeadHigh 1 HeartlessBastardsHoldYourHeadUp 1 MacklemoreHome 1 MegHutchinsonHopelessBoy 1 KingLilG,feat.DavidOrtizHowCouldYouLeaveUs 1 NFHowFarI’llGo 1 Auli'ICravalhoHowtoSaveaLife 1 TheFray

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Song n ArtistHumbleandKind 1 TimMcGrawI 1 KendrickLamarIAmNotMyHair 1 India.ArieIAmSomebody 1 Santana,feat.will.i.amIAmWhatIAm 1 RoySakumaIAmWoman 1 HelenReddyIAm…ISaid 1 NeilDiamondIBelieve 1 ChristinaPerriIChoose 1 India.ArieIDidn’tKnowMyOwnStrength 1 WhitneyHoustonIDon’tWanttoBe 1 GavinDeGrawIDriveYourTruck 1 LeeBriceIHaveMadeMistakes 1 TheOhHellosIKnowGirls(BodyLove) 1 MaryLambertILoveMe 1 MeghanTrainorIShallBeReleased 1 BobDylanIWalktheLine 1 JohnnyCashIWannaGetBetter 1 BleachersIWanttoKnowWhatLoveIs 1 ForeignerIWantYouBack 1 TheJackson5IWillGetThere 1 BoyzIIMenI’llBeThere 1 TheJackson5I’mAlive 1 KennyChesney,feat.DaveMatthewsI’mComingOut 1 DianaRossI’mMovin’On 1 RascalFlattsI’mNotLost,IAmExploring 1 JanaStanfieldI’mNotOkay(IPromise) 1 MyChemicalRomanceI’mNotWhoIWas 1 BrandonHeathI’mO.K. 1 StyxI’mOnMyWay 1 KelliePicklerI’mSensitive 1 JewelI’mSoGladI’mStandingHereToday 1 Michel'leI’mSoTired 1 TheBeatlesIfIHadAHammer 1 PeteSeegerIfTodayWasYourLastDay 1 NickelbackIfYouWanttoSingOut,SingOut 1 CatStevensIllWithWant 1 TheAvettBrothersInChristAlone 1 Keith&KristynGettyInRepair 1 JohnMayerIntheEnd 1 LinkinParkInnerDemons 1 JuliaBrennanInnerNinja 1 Classified,feat.DavidMyles

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Song n ArtistInnocent 1 TaylorSwiftIsolation 1 AlterBridgeItHappens 1 SugarlandItWillBeaGoodDay(TheRiver) 1 YesItWillRain 1 BrunoMarsIt’sAGreatDayToBeAlive 1 TravisTrittIt’sTheMostWonderfulTimeOfTheYear

1 AndyWilliams

Janie’sGotaGun 1 AerosmithJekyllandHyde 1 FiveFingerDeathPunchJesus,TaketheWheel 1 CarrieUnderwoodJust 1 RadioheadJustGiveMeaReason 1 P!nkKeepBreathing 1 IngridMichaelsonKeepHoldingOn 1 AvrilLavigneKeepMeInYourHeart 1 WarrenZevonKeepYaHeadUp 1 2Pac,feat.DaveHollisterKeepYourEyesOnThePrize 1 PeteSeegerKeepYourEyesOpen 1 NEEDTOBREATHEKillEmwithKindness 1 SelenaGomezKillemWithKindness 1 DizzyWrightKingHeroin 1 JamesBrownKokomo 1 TheBeachBoysLastHope 1 ParamoreLay‘EmDown 1 NEEDTOBREATHELeaningontheEverlastingArms 1 hymnLemonade 1 AlexBoyéLessonsLearned 1 CarrieUnderwoodLetHerGo 1 PassengerLetItCarryYou 1 JoséGonzálezLetItGo 1 IdinaMenzelLetItRain 1 AmandaMarshallLetYourLightShine 1 Keb'Mo'Let’sCallTheWholeThingOff 1 FredAstaireandGingerRogersLifetime 1 MaxwellLightsOn 1 MakeshiftInnocenceListen 1 BeyoncéLittleBrownJug 1 ArthurGodfreyLittleDoYouKnow 1 Alex&SierraLiveLikeAWarrior 1 MatisyahuLiveLikeWe’reDying 1 KrisAllenLockedUp 1 Akon

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Song n ArtistLoneRanger 1 RachelPlattenLoser 1 3DoorsDownLost! 1 ColdplayLoveCanBuildaBridge 1 TheJuddsLoveMeTender 1 ElvisPresleyLoveYourself 1 JustinBieberLoveYourz 1 J.ColeLovely 1 SaraHazeLovelyDay 1 BillWithersMadWorld 1 GaryJulesMakeItHappen 1 MariahCareyMansion 1 NFMarchinOn 1 OneRepublicMargaritaville 1 JimmyBuffettMarilynMonroe 1 NickiMinajMasterofPuppets 1 MetallicaMatterOfTrust 1 BillyJoelMaybe 1 SickPuppiesMe 1 PaulaColeMe,Myself&I 1 G-Eazy,feat.BebeRexhaMessageinaBottle 1 ThePoliceMigraine 1 twentyonepilotsMiniatureDisasters 1 KTTunstallMShebeirach 1 DebbieFriedmanMommaI’mSorry 1 LilHerbMonster 1 ImagineDragonsMonster 1 SkilletMoonRiver 1 FrankSinatraMorningHasBroken 1 CatStevensMrs.Robinson 1 SimonandGarfunkelMyBlueHeaven 1 GeneAustinMyGirl 1 TheTemptationsMyIronLung 1 RadioheadMyLife 1 MaryJ.BligeMyMom 1 ChocolateGeniusMyNameisDeath 1 RedWantingBlueMyShot 1 Lin-ManuelMirandaMySilverLining 1 FirstAidKitMyStory 1 SeanMcGeeMyWish 1 RascalFlattsNetherLands 1 DanFogelbergNeverTooLate 1 ThreeDaysGrace

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Song n ArtistNewYorkMinute 1 EaglesNewYorkStateofMind 1 BillyJoelNoFear 1 TerriClarkNoah’sTitanic 1 AntjeDuvekotNobodyEverToldYou 1 CarrieUnderwoodNotAnAddict 1 K'sChoiceNothingCompares2U 1 PrinceNowhereMan 1 TheBeatlesOasis 1 GracePotterandtheNocturnalsOb-La-Di,Ob-La-Da 1 TheBeatlesOhHappyDay 1 TheEdwinHawkinsSingersOh,PrettyWoman 1 RoyOrbisonOldPine 1 BenHowardOlivia 1 OneDirectionOntheRoadAgain 1 WillieNelsonOneCallAway 1 CharliePuthOneLittleSlip 1 BarenakedLadiesOneStepAtATime 1 JordinSparksOneStepCloser 1 LinkinParkOneTribe 1 BlackEyedPeasOperationSpirit(TheTyrannyOfTradition)

1 Live

OutsideMyself 1 k.d.langOverstand 1 DeadPrezPackUpYourSorrows 1 JudyCollinsParadise 1 ColdplayPartofMe 1 KatyPerryPassengerSong 1 GreatLakeSwimmersPatterns 1 PaulSimonPeace 1 NorahJonesPeaceLikeaRiver 1 traditionalPhoenix 1 AntjeDuvekotPianoMan 1 BillyJoelPieces 1 StephenCochranPioneer 1 TheBandPerryPleaseDon’tLeaveMe 1 P!nkPolaroid 1 ImagineDragonsPompeii 1 BastillePoprocks&Coke 1 GreenDayPrayForForgiveness 1 AliciaKeysPreciousLord,TakeMyHand 1 hymnPreciousMemories 1 hymn

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Song n ArtistPressureCracks 1 GrievesPursuitofHappiness(Nightmare) 1 KidCudiQ.U.E.E.N. 1 JanelleMonáe,feat.ErykahBaduQuietStorm 1 SmokeyRobinsonRainbowConnection 1 JimHensonRaindropsKeepFallin’onMyHead 1 B.J.ThomasReadAllAboutIt 1 ProfessorGreen,feat.EmeliSandéRealityandFantasy 1 RaphaelGualazziRecover 1 NatashaBedingfieldRieyLlora 1 CeliaCruzRiptide 1 VanceJoyRise 1 EddieVedderRoadSigns 1 BillDanoffRockstar 1 NickelbackRollAwayYourStone 1 Mumford&SonsRollingintheDeep 1 AdeleRooster 1 AliceinChainsRule 1 NasRunawayTrain 1 SoulAsylumSaySomething 1 AGreatBigWorldSecondChance 1 ShinedownSecretO’Life 1 JamesTaylorShineOnYouCrazyDiamond 1 PinkFloydShouldIStayorShouldIGo 1 TheClashSideways 1 CitizenCopeSilence 1 JarrenBentonSimpleGifts 1 traditionalSingAboutIt 1 TheWoodBrothersSkinnyLove 1 BirdySmile 1 Eyedea&AbilitiesSoUnsexy 1 AlanisMorissetteSomeDaysAreDiamonds(SomeDaysAreStone)

1 JohnDenver

SomeNights 1 fun.SomebodyThatIUsedtoKnow 1 Gotye,feat.KimbraSomeday 1 RobThomasSomeoneLikeYou 1 AdeleSometimesIFeelLikeaMotherlessChild

1 PaulRobeson

Somewhere 1 AudraMcDonaldSomewhereOnlyWeKnow 1 KeaneSoultoSqueeze 1 RedHotChiliPeppers

80

Song n ArtistSpirits 1 TheStrumbellasStandByYou 1 RachelPlattenStandInTheLight 1 JordanSmithStepbyStep 1 WhitneyHoustonStepIntotheProjects 1 MeshellNdegeocelloStopandStare 1 OneRepublicSunrise,Sunset 1 ChaimTopol,feat.NormaCraneSunshine 1 JonathanEdwardsSunshineOnMyShoulders 1 JohnDenverSupplyandDemand 1 AmosLeeSurvivor 1 Destiny'sChildTakeItEasy 1 EaglesTaketheMoneyandRun 1 SteveMillerBandTakeUsBack 1 MavisStaplesTakesaLittleTime 1 AmyGrantTalk 1 ColdplayTeachYourChildren 1 Crosby,Stills,Nash&YoungTellYourHearttoBeatAgain 1 DannyGokeyThatIWouldBeGood 1 AlanisMorissetteThatSmell 1 LynyrdSkynyrdThatWasn’tMe 1 BrandiCarlisleThat’sLife 1 FrankSinatraThe23rdPsalm 1 BobbyMcFerrinThe59thStreetBridgeSong 1 SimonandGarfunkelTheArtofPeerPressure 1 KendrickLamarTheBeastInMe 1 JohnnyCashTheFear 1 BenHowardTheFighter 1 GymClassHeroesTheGambler 1 KennyRogersTheGreatEscape 1 P!nkTheGreatestLoveofAll 1 GeorgeBensonTheInstrumental 1 LupeFiasco,feat.JonahMatrangaTheMercyWheel 1 A.A.BondyTheMinnow&TheTrout 1 AFineFrenzyTheNeedleandtheDamageDone 1 NeilYoungTheOutside 1 TaylorSwiftTheRealMe 1 NatalieGrantTheScienceofSellingYourselfShort 1 LessThanJakeTheSoundofSilence 1 SimonandGarfunkelTheStormIsOverNow 1 R.KellyTheStory 1 BrandiCarlisle

81

Song n ArtistTheStranger 1 BillyJoelTheWayIAm 1 IngridMichaelsonTheWind 1 CatStevensTheWrestler 1 BruceSpringsteenTherapy 1 AllTimeLowThere’sHope 1 India.ArieThisIsGospel 1 Panic!attheDiscoThisIsYourLife 1 SwitchfootThisLandIsYourLand 1 WoodyGuthrieThisYear(HappyNewYear) 1 JJHellerThrive 1 SwitchfootThugzMansion 1 2Pac,feat.NasandJ.PhoenixTightrope 1 StevieRayVaughanTime 1 PinkFloydTimeinaBottle 1 JimCroceTimetoMoveOn 1 TomPettyTimshel 1 Mumford&SonsTinMan 1 TheAvettBrothersTotheMorning 1 DanFogelbergTodayMyLifeBegins 1 BrunoMarsTomorrow 1 AileenQuinnTooManyYears 1 KodakBlack,feat.PnBRockTraumatized 1 MeekMillT’filatHaDerech 1 DebbieFriedmanTreatMeLikeSomebody 1 TinkTroubleInMindBlues 1 ThelmaLaVizzoTurnThePage 1 BobSegerTurntoStone 1 IngridMichaelsonTurn,Turn,Turn 1 PeteSeegerTwinkle,Twinkle,LittleStar 1 traditionalUnderPressure 1 Queen,feat.DavidBowieUndertheBoardwalk 1 TheDriftersUnderTheWeather 1 KTTunstallUnpretty 1 TLCUnsent 1 AlanisMorissetteUpToTheMountain(MLKSong) 1 PattyGriffinUp! 1 ShaniaTwainUseSomebody 1 KingsofLeonUseToBe 1 MeekMillVegas 1 SaraBareillesVideo 1 India.ArieVienna 1 BillyJoel

82

Song n ArtistVirginiaWoolf 1 IndigoGirlsWaitTilYouSeeMySmile 1 AliciaKeysWaitingForMyChanceToCome 1 NoahandtheWhaleWaitingForMyRealLifeToBegin 1 ColinHayWalk 1 FooFightersWalkOn 1 U2WallOfDenial 1 StevieRayVaughanWarrior 1 DemiLovatoWastedYears 1 IronMaidenWatchingTheWheels 1 JohnLennonWaterFromAnotherTime 1 JohnMcCutcheonWaterfalls 1 TLCWeDidn’tStarttheFire 1 BillyJoelWeShallOvercome 1 traditionalWeightinGold 1 GallantWelcomeHome,Son 1 RadicalFaceWelcomeToMyLife 1 SimplePlanWhatICannotChange 1 LeAnnRimesWhatI’veDone 1 LinkinParkWhatLight 1 WilcoWhat’sUp? 1 4NonBlondesWhenIDrink 1 TheAvettBrothersWhereAreYouGoing 1 DaveMatthewsBandWhereHaveAlltheFlowersGone 1 Peter,Paul&MaryWhereistheLove? 1 TheBlackEyedPeasWhiskeyLullaby 1 BradPaisleyandAlisonKraussWhispers 1 AylaNereoWhiteChristmas 1 BingCrosbyWhoIAm 1 JessicaAndrewsWhoIAm 1 JonasBrothersWhoSays 1 SelenaGomez&TheSceneWindBeneathMyWings 1 BetteMidlerWish 1 LecraeWishlist 1 PearlJamWithArmsWideOpen 1 CreedWithMyOwnTwoHands 1 JackJohnsonWonderwall 1 OasisWorldSpinsMadlyOn 1 TheWeepiesYesterday 1 TheBeatlesYouAreMore 1 TenthAvenueNorthYouMayBeRight 1 BillyJoelYouRaiseMeUp 1 JoshGroban

83

Song n ArtistYou’veGotaFriendinMe 1 RandyNewmanYou’veReallyGotaHoldonMe 1 SmokeyRobinson&TheMiraclesYourLifeIsNow 1 JohnMellencampZombie 1 FelaKuti

84

AppendixE:CompleteListofPrimaryTreatmentThemes/Objectives

TreatmentTheme/Objective nFeelings/Emotions 78Copingskills 77Support 72Empowerment 58Addiction/Substanceabuse 55Self-esteem 54Change 49Relationships 49Identity 44Settingandachievinggoals 44Acceptance 42Self-examination 27Hope 26Motivation 25Overcomingobstacles 25Positivethinking 24DBTskills 23Mentalhealth/illness 23Grief/Loss 22Choices 21Recovery 20Self-awareness 18Isolation/Loneliness 17Self-expression 17Faith/Spirituality 14Control 13Mindfulness 13Movingforward 13Love 12Perseverance 10Struggle 10Trauma/Abuse 10Trust 10Communication 9Lifeexperiences 9Reminiscence 9Gratitude 8Lifereview 8

85

TreatmentTheme/Objective nValidation 8Courage 7Forgiveness 7Relaxation 7Self-advocacy 7Self-destructivebehavior 7Values 7Cognitivedistortions 6Insight 6Meaning/Purpose 6Newbeginnings 6Perspective 6Safety 6Symptoms 6Clientpreferredmusic 5Competencyrestoration 5Futureorientation 5Home 5Stress 5Attendingtoreality 4Autonomy 4Boundaries 4Encouragement 4Freedom 4Groupdynamics 4Psychosocial 4Abandonment 3Bullying 3Competencyeducation 3Empathy/Compassion 3Existentialconcerns 3Findingbeauty 3Growth 3Healthythoughtprocess 3Pain 3Peerpressure 3Problemidentification 3Problemsolving 3Reframing 3Triggeridentification 3Violence 3Aging 2

86

TreatmentTheme/Objective nExpectations 2Leisureskills 2Lifeinfluences 2Makingmistakes 2Moodelevation 2Perfectionism 2Responsibility 2Self-care 2Wantsvs.needs 2Wordsofwisdom 2Assessment 1Authenticity 1Authority 1Balancinggoodandbadexperiences 1Beginningtherapy 1Blame 1Burnout 1Cautionarytale 1Cheating 1Childhood 1Consequencesofself-will 1Culturalcompetence 1Cycles 1Defensemechanisms 1Dischargeplanning 1Duality 1Ethicalstandardsofbehavior 1Goodvs.badadvice 1Goodbyesong 1Holidayseason 1Ideaofmanhood 1Identifyingderogatoryandstigmatizinglanguage 1Identifyingnegativeattachments 1Imaginingabetterlife/world 1Individuation 1Legacies 1Livinginamentalhospital 1Medication 1Militarylifestyle 1Narratives 1Peace 1

87

TreatmentTheme/Objective nPositivereinforcement 1Process 1Psychoeducation 1Separation 1Sexuality 1Showingothersourgifts 1Simplicity 1Takingtheroadlesstraveled 1Therapeuticengagement 1Wanderlust 1What'sgoingoninthissong 1Whenitisappropriate 1Willingvs.Willfulness 1

88

AppendixF:DescriptiveStatisticsforLIWC2015Outputs

LIWCDomains Mean SDWordcount 284.25 115.45SummaryLanguageVariables

Analyticalthinking 25.22 22.89Clout 53.21 35.45Authentic 73.34 31.95Emotionaltone 51.34 34.81GeneralDescriptors Words/sentence 198.71 136.86Words>6letters 7.78 3.76Dictionarywords 94.11 4.83LinguisticDimensions

Totalfunctionwords 58.58 6.32Totalpronouns 21.43 4.64Personalpronouns 15.72 5.121stperssingular 8.98 5.481stperplural 0.77 1.442ndperson 5.15 4.633rdperssingular 0.29 0.653rdpersplural 0.54 0.76Impersonalpronouns 5.71 3.86Articles 4.8 2.15Prepositions 11.66 3.76Auxiliaryverbs 13.16 5.85Commonadverbs 6.2 2.90Conjunctions 6 2.76Negations 2.94 3.56OtherGrammar

Commonverbs 25.27 8.26Commonadjectives 3.94 3.16Comparisons 1.86 2.05Interrogatives 1.98 2.36Numbers 1.09 1.76Quantifiers 1.8 1.34PsychologicalProcesses

Affectiveprocesses 6.96 5.34Positiveemotion 4.39 4.11Negativeemotion 2.54 2.59Anxiety 0.9 2.23Anger 0.33 0.64

89

LIWCDomains Mean SDSadness 0.69 0.93Socialprocesses 11.21 7.48Family 0.27 0.51Friends 0.4 0.82Femalereferences 0.23 0.56Malereferences 0.49 1.24Cognitiveprocesses 11.84 5.62Insight 2.66 2.08Causation 1.51 1.76Discrepancy 1.98 2.57Tentative 2.43 2.80Certainty 2.18 2.10Differentiation 2.51 1.96Perceptualprocesses 5.69 5.69See 2.88 4.86Hear 1.56 3.67Feel 1.11 1.16Biologicalprocesses 2.32 1.59Body 0.95 1.12Health 0.7 0.81Sexual 0.03 0.12Ingestion 0.36 0.69Drives 7.18 5.27Affiliation 1.89 2.11Achievement 1.2 2.29Power 2.19 2.18Reward 1.71 2.33Risk 0.62 1.23Timeorientations

Pastfocus 2.83 3.19Presentfocus 18.85 8.53Futurefocus 3.53 3.24Relativity 16.87 7.21Motion 3.69 3.28Space 7.78 5.17Time 6.11 4.65Personalconcerns

Work 0.38 0.80Leisure 0.82 1.26Home 0.23 0.49Money 0.21 0.36Religion 0.41 0.91

90

LIWCDomains Mean SDDeath 0.15 0.43Informallanguage 1.97 2.34Swearwords 0.07 0.19Netspeak 0 0.00Assent 0.98 1.70Nonfluencies 0.7 1.17Fillers 0 0.00

91

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VITA

AshleyMiller,MT-BC,NICU-MT

EDUCATIONUNIVERSITYOFKENTUCKY–Lexington,KYMasterofMusicinMusicTherapyUNIVERSITYOFLOUISVILLE–Louisville,KYBachelorofMusicinMusicTherapy

05/17Expected

12/14

PROFESSIONALEXPERIENCE

imagine.magazineEditorialAssistantUniversityofKentucky–Lexington,KYMusicTherapyGraduateTeachingAssistantLouisvilleMusicTherapy,LLC–Louisville,KYContractMusicTherapistTherapyLex,LLC–Lexington,KYContractMusicTherapistUKHealthCare–Lexington,KYMusicTherapyIntern

07/16–Present

08/15–05/16

01/15–07/15

04/15–05/15

07/14–12/14

SCHOLASTICHONORS

UniversityofKentuckyRitaC.LamAwardrecipientforexceptionalachievementinmusictherapyUniversityofLouisvilleMagnacumlaudegraduateSchoolofMusicDean’sAwardrecipientJoanMcCombsScholarshiprecipientformusictherapy

05/1712/1412/1408/12

PUBLICATIONS

Miller,A.(2014).Drumtogether:Improvingjointattention.imagine,5,110.Miller,A.,Yinger,O.S.,&Zwischenberger,J.(2016).Alteringperceptions:Research, cost-effectiveness,andadvocacy.imagine,7,53-57.