song lyric analysis assignment

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Song Lyric Analysis Assignment EXAMPLE

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English 7-12
Analisis song mahessa

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The Music Technology Cookbook: Ready-Made Recipes for the Classroom

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31 More than Words: Analyzing a Song through Lyric Annotation (Intermediate)

Published: December 2020
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This activity challenges middle school students to determine what is expressed through lyrics. Through annotation, students analyze and interpret lyrics to uncover the expressive meaning of a song as well as the specific tools lyricists and songwriters use to express their ideas. To begin, students are tasked with selecting and studying a song that they deem has interesting lyrics and labeling its form (verse, chorus, etc.). Following, students engage a three-step analysis process. First, they sift through the lyrics word-by-word to identify unfamiliar terms so that they can better contextualize the intended meanings of the song. Second, they identify and annotate expressive meanings in the lyrics. Finally, they annotate examples of songwriting craft, which might include literary or poetic devices.

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Song Analysis (Shaughnessy 1030:0067): Song Analysis Resources

Song Analysis Resources
Citation Help

This guide was created with the intention to help you locate resources, including scholarly articles, magazine articles, images, textual analysis, and other cultural artifacts for your assignment rhetorically analyzing a song of your choice.

Themes & Keywords

To begin research for this assignment first think about the themes represented in your song. You'll also want to consider what are the main ideas and concepts of your song. Themes like women empowerment, female agency, or gender roles can be used to locate articles or textual analysis. You'll find themes, ideas, and concepts are very much alike.

The other thing is to think about specific themes or ideas and turn these into "keywords" or the main, important words that are heavily mentioned or explored. Once you've decided on the main themes and keywords associated with your song, then you can start the research process to locate articles or cultural artifacts.

Cultural artifacts can range from pictures, interviews in articles, magazine covers, articles found in magazines, and many others that were created within or close to the timeframe your song was written or produced.

Visit The Perch

Visit The Perch and read print materials - magazines, newspapers, literary reviews, and popular publications - to find cultural artifacts, articles representing themes, magazine covers, etc. You may read and enjoy these materials, but cannot check them out. If you find something you like, you can scan the original and print off a copy.

What if I can't find or access back issues of a magazine?

A . We have back issues for all of our magazines located on the 3rd floor of the Main Library in our periodicals section.

For select magazines, such as Vogue, Variety, or Billboard or more, we have older issues in our digital collections. To find these you can search by title in InfoHawk+ Advanced search OR you can also browse by publication title in ProQuest or Academic Search Elite to view more issues.

Music & History databases

Academic Search Elite This database is good for finding scholarly articles on every subject or discipline. Most majors and students from all over generally use this database.
Access World News Provides full-text articles of over 600 U.S. and over 700 international newspapers. Includes the Chicago Tribune, and some Iowa newspapers. Search by broadly by topic or geographical region or refine your search by selecting "more search options".
Alt-Press Watch Full-text database indexes over 250 alternative, radical and left periodicals, newspapers and magazines.
American Song American Song is a history database that will contain 50,000 tracks that allows people to hear and feel the music from America's past. The database will include songs by and about American Indians, miners, immigrants, slaves, children, pioneers, and cowboys. Included in the database are the songs of Civil Rights, political campaigns, Prohibition, the Revolutionary War, the Civil War, anti-war protests and more.
Bloomsbury Popular Music An invaluable resource for a broad range of Arts and Humanities subjects, Bloomsbury Popular Music provides comprehensive and authoritative information about all genres of popular music worldwide, from the early 20th century to the present day. PLEASE NOTE: You must login with HawkID and password.
Popular Culture in Britain and America, 1950 - 1975: Rock and Roll, Counterculture, Peace and Protest Rock and Roll explores the dynamic period of social, political and cultural change between 1950 and 1975. The resource offers thousands of colour images of manuscript and rare printed material as well as photographs, ephemera and memorabilia from this exciting period in our recent history. Topics include student protests, civil rights, consumerism, and the Vietnam War.
Sixties: Primary Documents and Personal Narratives, 1960 to 1974 The Sixties brings the 1960s alive through diaries, letters, autobiographies and other memoirs, written and oral histories, manifestos, memorabilia, and scholarly commentary. With 150,000 pages of material at completion, this searchable collection is the definitive electronic resource for students and scholars researching this important period in American history, culture, and politics. The database currently has over 34,000 pages.

Song Analysis & Lyric websites

Genius Search lyrics, songs, or artists. Read public critiques & analysis of songs and find articles that have discussed the song.
SongFacts Browse songs, artists, albums, and more. Read facts about the artists and songs.
SongMeanings Find lyrics and read public comments about songs.

National Newspapers

Regional Newspapers

The Annals of Iowa is hosted on Iowa Research Online (IRO), The University of Iowa's Institutional Repository. The IRO preserves and provides access to the research and creative scholarship created by the University's faculty, students, and staff.

Next: Find help >>
Last Updated: Oct 18, 2023 9:45 AM
URL: https://guides.lib.uiowa.edu/song-analysis

The History Behind Song Lyrics

Resources & Preparation
Instructional Plan
Related Resources

The events described in Billy Joel's “We Didn't Start the Fire” span about forty years of U.S. history. The lyrics include references to people, places and events from four decades of world occurrences. In this lesson, students research and categorize items from the song as well as illustrate their historical relevance. Students use an online chart to display their research. In addition, students make personal connections by working on a self- or teacher-selected lyrical project.

Featured Resources

Self-Reflection : Students use this sheet to evaluate how well they interact in a group activity, including what they did, what they enjoyed, what they found difficult, what worked well, and what they would do differently the next time.

From Theory to Practice

Does nonprint media-television shows, films, and songs-belong in the classroom? Absolutely! Nonprint media reach students and make connections in different ways from print media. Further, nonprint media often focus on contemporary topics that are not yet included in classroom textbooks. Jerome Evans states, "Artifacts of pop culture serve as advanced organizers for students, who can then connect new material (prominent and persistent themes in American literature) to their own experiences with literature (song lyrics). Once they see that songwriters and performers develop themes in the music they enjoy, discovering those themes (and, of course, others) in literature new to them is simply not so difficult." As Evans discusses, the use of nonprint media aids students when they do need to read and respond to print media. Further Reading

Common Core Standards

This resource has been aligned to the Common Core State Standards for states in which they have been adopted. If a state does not appear in the drop-down, CCSS alignments are forthcoming.

State Standards

This lesson has been aligned to standards in the following states. If a state does not appear in the drop-down, standard alignments are not currently available for that state.

NCTE/IRA National Standards for the English Language Arts

1. Students read a wide range of print and nonprint texts to build an understanding of texts, of themselves, and of the cultures of the United States and the world; to acquire new information; to respond to the needs and demands of society and the workplace; and for personal fulfillment. Among these texts are fiction and nonfiction, classic and contemporary works.
3. Students apply a wide range of strategies to comprehend, interpret, evaluate, and appreciate texts. They draw on their prior experience, their interactions with other readers and writers, their knowledge of word meaning and of other texts, their word identification strategies, and their understanding of textual features (e.g., sound-letter correspondence, sentence structure, context, graphics).
4. Students adjust their use of spoken, written, and visual language (e.g., conventions, style, vocabulary) to communicate effectively with a variety of audiences and for different purposes.
5. Students employ a wide range of strategies as they write and use different writing process elements appropriately to communicate with different audiences for a variety of purposes.
6. Students apply knowledge of language structure, language conventions (e.g., spelling and punctuation), media techniques, figurative language, and genre to create, critique, and discuss print and nonprint texts.
7. Students conduct research on issues and interests by generating ideas and questions, and by posing problems. They gather, evaluate, and synthesize data from a variety of sources (e.g., print and nonprint texts, artifacts, people) to communicate their discoveries in ways that suit their purpose and audience.
8. Students use a variety of technological and information resources (e.g., libraries, databases, computer networks, video) to gather and synthesize information and to create and communicate knowledge.
11. Students participate as knowledgeable, reflective, creative, and critical members of a variety of literacy communities.
12. Students use spoken, written, and visual language to accomplish their own purposes (e.g., for learning, enjoyment, persuasion, and the exchange of information).

Materials and Technology

Lyrics to “We Didn’t Start the Fire” by Billy Joel
Audio or video of the song “We Didn’t Start the Fire” by Billy Joel
Guiding Questions for Community Interviews
Lyrics Research Questions
Project Ideas
Self-Reflection

Preparation

Decide whether to choose students’ final project or to have students selecting their own projects. Arrange for computer time if any of the final projects require technology.
Make appropriate copies of Song Lyrics , Interview Guidelines , Research Questions , Project Ideas , Rubric , and Self-Reflection .
Test the Online Chart Tool on your computers to familiarize yourself with the tools and ensure that you have the Flash plug-in installed. You can download the plug-in from the technical support page . If you use any of the other online student tools, test those as well to ensure that they work properly on your machines.
Familiarize yourself with some of the ReadWriteThink interactive presentation tools students might use in their final projects. They may choose from the Printing Press , Stapleless Book , Multigenre Mapper , Graphic Map , or Interactive Timeline .

Student Objectives

Students will:

analyze a song to critically examine the subject addressed.
identify the people, places and events addressed in a song.
research information presented in song lyrics.
interpret song lyrics based on contextual clues and research information.
chart their research using an online graphic organizer.
synthesize their learning through completion of a project related to song lyrics.

Session One

Begin this lyrical study by asking the students if they can think of any songs—classic or contemporary—that discuss history and times passed. Some examples may include “1985” by Bowling for Soup, “American Pie” by Don McLean , and even songs from Schoolhouse Rock . Ideally, students will be able to share many titles and musical genres. For song ideas, visit this Free Technology for Teachers blog post .
Explain that the class will critically listen to such a song that discusses historical events, discovering the meaning and the history involved.
Play the song “We Didn’t Start the Fire” by Billy Joel, or show the music video if it is available.
Ask the students if they have ever heard the song and if they recognize the artist.
Invite students to share other song titles by Billy Joel.
Ask students to take out a piece of paper and fold it into fourths. The columns on the paper should be labeled with the following headings: People, Places, Events, and Uncertain.
Play the song again. This time, ask students to jot down as many people, places and events as they are able while they listen to the song.
After the song concludes, invite students to share and discuss the items that they identified as they listened to the lyrics.
Distribute the song lyrics to the students and allow them time to read and think about the lyrics.
Play the song a third time, with the students following along with the lyrics.
Explain how Billy Joel used events, terms, and people associated with a certain time period in history to create the lyrics for this song. Except for the chorus, the song is a collection of words and phrases focused on historical events, people, and places.
Invite students to share what they know about the information in the song.
Ask the students if they know why the lyrics are divided where they are.
Lead a discussion that includes the following questions: “Why do you think these events were selected? What events do you think were left off? Why? ”
Divide students into project groups, and assign each group a section of the song.
Explain that groups will determine the relevance of each of the words and phrases in their section of the song. By researching and interviewing, students will assign to each event, person, and place an approximate date, location, significance in history, and any contemporary connection. All this information will be recorded in an Online Chart .
If there is time, invite students to find and share any trivia related to the events, people and places.

Sessions Two and Three: Research

Before beginning the research process, share the Rubric with the students so that they know the goals for the assignment.
With your assistance, students should research their selected topics to answer the Lyrics Research Questions .
Encourage students to make the most of the available resources for their research, including their library media center and computer lab. Point out books, magazines, newspapers, and other periodicals that include pertinent information as well as Web resources, such as the Decades: A Study of the 20th Century page, that will help students identify information about their topics.
In addition to the typical research mediums, explain that students will interview community members about their section of the song. This step is crucial as some of the topics or items mentioned in the song and not found in typical research mediums.
Students can create their own interview questions, or use the Guiding Questions handout.
Assist the students as they research. Help them to determine keywords , or evaluate the effectiveness of a text or Website .
Students will be recording their information using the Online Chart . This can then be printed and used as part of the final project.

Sessions Four and Five: Final Projects

When the students have completed their research and their Online Chart , present the list of project ideas , and invite students to share any additional project ideas they have.
Create a newspaper, flyer, booklet, or brochure with their research using the Printing Press .
Create a 6-page booklet about their findings, using the Stapleless Book .
Use the Multigenre Mapper to create a project using multiple genres such as illustrations, poetry, quotations, biographical information, and recipes.
Chart the high and low points of the decade they’ve studied with the Graphic Map .
Record the data from their time period using the Interactive Timeline .

Session Six: Work on Final Projects

Allow time in class for the completion of the students’ final projects.

Session Seven: Project Presentations

When all of the projects are completed, invite the students to share what they have learned:
Students can share their research from the Billy Joel song lyrics.
Students can share their selection from the final project ideas .
Students can categorize all of the items listed in the song, using their own categories. Ask students to justify the placement of each item. For example, if Marilyn Monroe is placed in a Tragedy category, students would identify the things about her life that were tragic (e.g., her suicide, her unhappy marriages). If Marilyn Monroe is placed instead in the Hollywood category, students would identify information about her movie career that tied her to the category.
Political/International Relations/Military Events
Economic/Scientific/Technological Developments
Social/Cultural Developments
Repeat this project with the movie Forrest Gump . Unbeknownst to him, Forrest, the protagonist, finds himself in the middle of many important American places and events.
Using the Timeline Tool , students can place items in their correct place in history. It would be interesting to see if students place the items in the same year as they are in the song.
Challenge the students to think and learn more about the connection between poetry and music. Invite the students to set some of their original poetry to music or rewrite new lyrics for existing music.
Extend your students' study of music in the classroom with one or more of these lesson plans from the Rock and Roll Hall of Fame and Museum .

Student Assessment / Reflections

Using the Self-Reflection questions, ask students to think about the steps they took as they worked on this assignment—what they had problems with, how they worked out their problems, and how they feel about their final project and presentation.
Use the Rubric to evaluate students’ work on the research, group work, final project and presentation.
Calendar Activities
Professional Library
Lesson Plans

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Kindergarten K

Song Meanings and Facts

How To Analyze A Song

How to Write a Song Analysis

by SMF · Published January 8, 2023 · Updated January 12, 2023

English class can be boring sometimes, even for those of us who actually enjoy reading and writing. But occasionally or at least ideally, we will be given assignments that are actually exciting and interesting to work on. One of those can be in the form of analyzing a song.

One of the cool things about songs, as compared to other pieces of literature, is that first of all they tend to be relatively short. Secondly, there is usually a type of universal interest in song meanings (depending on the artist). And third, both classics and contemporary pieces can be enjoyable to research.

For instance, there’s a good possibility that with a song you’re already familiar with, even if it’s one of your favorites, there’s something about its history and composition that you will not be aware of until actually researching it. And yes, research is an important part of song analysis, which is something we will get to later.

Contemporary pieces may not be as historically-rich, but they can be more stimulating to work on since they tend to deal with trending topics, ideas and musicians. Moreover, if your teacher were to assign you a contemporary piece, chances are it’ll be via one of the more-profound artists out there. So in such cases, there can be a lot more to dissect than you initially take for granted. Or in any event, the writing should go smoother since you’re likely already dealing with a celebrity you’re already familiar with.

So with all of that said, here are some proven tips when it comes to successfully writing a song analysis for English class.

1. ADHERE TO THE PRESCRIBED GUIDELINES

You may have heard the old adage about the student who wrote the perfect paper but still received an F because he or she didn’t properly follow the teacher’s guidelines.

Musicians are amongst the freest artists out there, and when analyzing their works we may be compelled to emulate their carefree styles. But if you are in fact analyzing a song for a class project, then there will inevitably be certain rules to follow in the process. As a formal author, you should remain mindful of these throughout. Your failure to do so, may end up in your penning of a really-dope analysis but one that has to be rewritten or even rejected due to not following the necessary procedure.

2. CHOOSING THE RIGHT SONG

Perhaps your English teacher is liberal enough to allow you to choose the song of your choice to analyze. It would of course be tempting to work on one by your favorite musician, i.e. an artist you’re already familiar with and have a sound understanding of what their lyrics mean.

But doing so may not always be the best choice, especially if you have an affinity for musicians who tend to harp on trivial and/or redundant concepts or are under pressure to have the analysis comply to an intimidating word minimum.

In other words, even if you do decide to go with your favorite artist, try to choose one of their deeper, more-substantive tracks to work on. Or even better yet, you may opt to go with certain acts, such as U2 or Nas for instance, whose works are known to be more profound than that of their peers.

Another option is going with a really-popular historical musician whose song may not necessarily be profound per se but has an interesting history behind it.

“Wanna Be Startin’ Somethin”

One track that comes to mind in that regard is the likes of Michael Jackson’s “ Wanna Be Startin’ Somethin “. On the surface it may not really sound like much is going on, but in reality or at least in theory its lyrics are based on serious familial beef the Jacksons were going through at the time. Moreover, since there’s so much historical information available about Michael himself, that type of info can also be used to flesh the analysis out.

That said, you wouldn’t necessarily want to choose a song that’s too complicated. For instance, you may have a hair-pulling experience attempting to make sense out of a Bob Dylan track, as classic as it may be. And if your teacher assigns you one of such songs by force, that’s something we will get to a bit later.

3. RESEARCH

One of the biggest mistakes a person can make when analyzing a song is failing to conduct adequate research. Even if the song is by an artist you know like the back of your hand, not taking the time to research it is a big mistake. Research! More Research! Research is one of the main keys.

In some instances, especially when dealing with tracks by less-popular artists or songs that are not considered classics or fan favorites, there may not be any pertinent information out there to be had to begin with. But in many cases, you’d be surprised what can be discovered or theorized about a song if you’re willing to do some digging.

4. HAVE CONFIDENCE IN YOUR ANALYTICAL SKILLS

In other instances, such as with the aforementioned Bob Dylan, you may find yourself in a situation where there isn’t any pertinent information – or sometimes even theories – to fall back on. There can be other analysts and scholars out there who have speculated on the meaning of the same song, though with none of those ideas having been verified by the artist or other authoritative sources. This may even happen with a track you’re already quite familiar with.

You go into the analysis thinking you already have the meaning figured out but come out surprised to discover that there’s nothing verifiable out there to back up your conclusions.

Under such circumstances, the analysis must be written nonetheless. This is what we may sometimes refer to as “going out on a limb”. In other words, your understanding of the song, lack of a verifiable meaning considered, may be a little far out and/or such that some people will not agree with your conclusion.

But then again, so it often is with the artists who write these songs. Therefore, so long as you can form a concise argument, you shouldn’t be afraid to put your own ideas, as unorthodox as it may be, out there, unless the artist or some other authoritative source has stated otherwise. That is to say that in the world of song analyses, the artist’s own explanation always trumps all other interpretations.

5. SEARCH OUT A NARRATIVE

Not all songs have a distinguishable storyline, but many do, especially when it comes to certain genres, such as country music. And sometimes, even confusing pieces can be made understandable if you are able to detect a narrative that permeates throughout the lyrics – even if not consistently so – and then focus on that particular aspect of the song.

6. CONTEXT

This goes back to actually researching the background of a track. Oftentimes, there will be a particular event, person, reality or what you that inspired the songwriter(s) to pen the piece. And if you are able to ascertain the context in which the song was written, that will undoubtedly grant you a better understanding of the lyrics’ meaning.

7. SONG STRUCTURE

Not all parts of a song are equal. Or rather, let’s say that different parts also serve their own respective purposes. Therefore, it is important to be able to differentiate between the likes of the following:

For instance, the main point of a song is usually relayed through its chorus. And if, via the chorus, you are still unable to ascertain exactly what the track is about, it is in the bridge where you usually find the thesis sentiment reiterated in some way, shape or form.

If you’re tasked with analyzing songs regularly, i.e. if the entire class is based on such assignments, then as time progresses you should be able to distinguish the different parts yourself (if you don’t know how to already). If not, then it is a good idea to resort to websites such as Genius which usually name the different segments.

8. MAKE SENSE OF POETIC DEVICES

Musicians of all genres (though some more than others) rely quite heavily on metaphors, allegories, abstractions, symbolisms – so on and so forth. Most of the songs out there revolve around topics, such as being in love, which musicians/poets had already worn out even before most of us were born.

So the challenge of today’s artists isn’t necessarily to say anything new as it is to relay the same old ideas in refreshing ways.

That would be the logical reason why they rely so heavily on poetic lingo as opposed to just stating their sentiments forthrightly. And sometimes, making sense out of these metaphors can be the most-challenging aspect of song analysis, though one that has to be taken seriously rather than ignored or neglected.

8. ONLY FOCUS ON THE INSTRUMENTAL IF NECESSARY

When it comes to ascertaining a song’s actual meaning, of course the lyrics tend to be exponentially more important than the instrumental. In fact these days, artists are increasingly using this strategy in which for instance they’d drop melancholic wording against an upbeat music.

So perhaps if you have a minimum-word requirement which hasn’t been met after analyzing the lyrics, you may decide to harp on the instrumentals also. Or in some (rare) cases, it may actually be that the music noticeably contributes to the overall meaning, thus necessitating granting the instrumental its appropriate attention.

It is also imperative, at the very least, to make note of the track’s producer. Yes, the instrumental is important to the sound and overall success of the song. But analysts should not make the mistake of thinking that it is on par with the lyrics in terms of understanding what’s being put forth.

Analyzing songs can be one of the more exciting activities you engage in as an English student or perhaps as a writer in general. Music is an art we all have an affinity for, and popular musicians rank amongst the best-known celebrities in the world. So this is a topic that everyone tends to be interested in.

But on the flipside of that equation is the acknowledgement that with universal interest in music comes respective individuals with their own understandings and takes of different artists and songs.

In fact these days, even the musicians themselves aren’t safe from incessant critiques. So analyzing tracks, as cool as it may be, requires serious research and hard thinking nonetheless.

Songs may be such that we usually listen to them for entertainment or to take a load off. But making sense of them and presenting our conclusions in an analysis that will be subject to criticism (and grading) can be a weighty scholarly endeavor.

Example of a Song Analysis: “Nothing Else Matters” by Metallica

It has been put forth that “Nothing Else Matters” was originally penned with the addressee being a girlfriend of James Hetfield. But James himself has described it as being “about missing friends at home, being out [on tour] for such a long time”.

With that in mind, the lyrics of this piece are quite tender, to the point where he further went on to explain that he never meant for them to be made public. But the rest of Metallica was feeling the tune and urged him to record and drop Nothing Else Matters, which proved to be sound advice, considering that this is arguably the biggest hit single in their catalog.

But the easiest way to understand what’s being put forth is to presume that the addressee is a romantic interest. So maybe when Hetfield was missing his people back home, at the top of the list was someone whom he had that type of relationship with.

So the first verse, to some degree, sounds as if he’s missing someone in general, as if their relationship can be one of a number of different types. But the vocalist closes out the passage by saying “forever trusting who we are”, which isn’t necessarily the kind of statement one would make to their mother for instance. But still, it’s like what he’s generally speaking to is their association being such that it cannot be destroyed by distance.

The second verse maybe can be taken the same way, as in having a general applicability. The vocalist comes off as someone who, up until now, was never able to fully express how he feels about the addressee. And again, making a statement like “[I] never opened myself this way” may not be the type you’d make towards a parent for instance. But that would depend on what type of relationship you had with them beforehand.

In the third verse, James speaks to how edifying his association with the addressee is. In this particular instance, he doesn’t allude to the two of them being separated or anything like that. And again, there isn’t anything like overt-romantic lingo utilized. But with Hetfield dropping lines like “trust I seek, and I find in you”, and “every day for us something new”, it would be hard to imagine that he’s like singing to his bestie.

And with all of that said, it’s really the refrain and chorus which drive home the postulation that this piece may be romantic in nature. In terms of his relationship with the addressee, the vocalist puts forth that “nothing else matters” and goes on to further expound that he “never cared for what they say” or “games they play”. And those are definitely the types of assertions that we most commonly come across in love songs.

In Conclusion

To note, Lars Ulrich is also credited as a writer of this track. So it may very well be that in its original incarnation, “Nothing Else Matters” did speak more to the idea of missing loved ones in general. But a common phenomenon we come across in the music industry is a piece being universal upon conception, but by the time the final product comes out, it does so more as a love song. And that may well be what transpired here, because half of the lyrics read as if the addressee could fall into one of a number of relationship categories and is someone whom the vocalist is missing due to their absence. Indeed, Hetfield was surprised to discover that some people have even this as a bereavement song, with both the mourners and the deceased being males.

Part of aforenoted Hetfield’s astonishment was due to the fact that he even understands that this song is usually interpreted as being about the singer ‘missing his chick’. And as for the actual thesis being relayed, it’s as if the relationship between the vocalist and addressee is a persecuted one, with the former resolving to stay committed regardless (and with no allusions to their being distance between them). That is the type of storyline you will more commonly come across in a romance-based piece.

Top Songs with Deep Meanings

Below is a handful of songs with very deep meanings. These tracks also happen to be members of the list of the most-analyzed songs in history.

Aretha Franklin’s “Respect”
Bob Dylan’s “Like a Rolling Stone”
Elvis Presley’s “Heartbreak Hotel”
Guns N’ Roses’ “Sweet Child O’Mine”
John Lennon’s “Imagine”
Marvin Gaye’s “What’s Goin’ On”
Michael Jean’s “Billie Jeans”
Nirvana’s “Smells Like Teen Spirit”
Oasis’ “Live Forever”
Queen’s “Bohemian Rhapsody”
Radiohead’s “Creep”
Leonard Cohen’s “Hallelujah”
Sex Pistols’ “God Save the Queen”
Simon & Garfunkel’s “Bridge Over Troubled Water”
The Beach Boys’ “Good Vibrations”
The Beatles’ “Hey Jude”
Bob Marley’s “No Woman No Cry”
The Beatles’ “Yesterday”
The Clash’ “London Calling”
Prince’s “When Doves Cry”
The Eagles’ “Hotel California”
Ray Charles’ “What’d I Say”
Dire Straits’ “Sultans of Swing”
The Who’s “My Generation”
System of a Down’s “Chop Suey!”
Sia’s “Chandelier”
Semisonic’s “Closing Time”
Foster the People’s “Pumped Up Kicks”
The Beatles’ “Let It Be”
The Beatles’ “Blackbird”
Green Day’s “American Idiot”
Bruce Springsteen’s “Born in the USA”
Bob Marley’s “I Shot the Sheriff”
The Smiths’ “There is a Light That Never Goes Out”
Third Eye Blind’s “Semi-Charmed Life”
Phil Collins’ “In the Air Tonight”
ABBA’s “Dancing Queen”
2Pac’s “Changes”
Eminem’s “Lose Yourself”
Eminem’s “The Way I Am”
The Smiths’ “How Soon Is Now”
Joy Division’s “Love Will Tear Us Apart”

It is important to state that there are literally thousands of more songs equally as deep or even deeper than the ones mentioned above. The list is therefore not exhaustive.

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10 Song Analysis Lessons for Teachers

July 22, 2023 // by Lindsay Ann // Leave a Comment

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One of the positive shifts that happened as a result of PARCC becoming a short-lived focus in my district and state was that attention shifted to paired text analysis of shorter texts. Even as Illinois shifted to IAR and parted ways with yet another educational acronym, the idea of quick-hit analysis with short texts stuck with me. I will always keep song analysis and poem analysis with paired texts as a part of my classroom routine thanks to PARCC.

It is easy to scaffold and differentiate song analysis lessons. I can integrate poems as mentor texts, as well. But the BIGGEST benefit is that these short texts engage students and build a foundation for the analysis of longer novels such as Their Eyes Were Watching God or Great Expectations .

Song Analysis & Poem Analysis: Building a Foundation

I begin the year with a review of essential reading, writing, and close reading skills.

We spend time breaking down and discussing various poems such as “ Nikki Rosa “, “ Tattoo “, and “ Ode to my Socks .” I play songs for them and we unpack the meaning behind the lyrics. Songs like “ Dig ” and “ Anti-Hero ” and “ Hotel California .”

As we engage in poem analysis and song analysis, we talk about word choice, connotations, pattern-hunting, and review common poetic and literary devices organically as they come up in our texts.

Then, we practice analyzing the songs and poems to prove a claim. It’s one step forward to notice an important word or a connotation , but it’s a higher-level skill to unpack and explain how the author’s choices are designed to convey a message.

And it’s even more complex to put it all down in writing : thesis statements and topic sentences, using evidence to prove a claim, paragraph structure, and idea development.

All of this happens in cycles, with a lot of modeling and discussion – we go slow to go fast.

After students are comfortable analyzing a single text, I pair multiple texts for a larger conversation, asking students analyze these texts as cultural critics and to apply literary lenses .

Students discuss and synthesize texts and ideas as they bring different texts into conversation with each other as we explore an essential question such as:

What is the meaning of “love” in society?
What can “Anti-Hero” by Taylor Swift teach us about the Hero’s Journey?
How can the songs “Cry Pretty” and “Growing Up” guide a discussion about gender roles and norms?

Skill Integration

The skills that students review and expand upon in the poem and song analysis learning cycles will serve them well throughout the school year.

As we read short stories and novels, t he text complexity increases , and we fold in character and plot discussions, but the foundation for in-depth and analytical thinking is there.

Plus, it’s a lot easier for students to reflect and revise (and a lot easier for me to provide formative feedback ) when the stakes are lower and the texts and analysis writing are short and focused.

That’s how my students find themselves writing 12-15 page literary analysis papers during second semester. For this assignment, they engage in college-level analysis, critiquing a literary critic’s perspective on a novel and using their own thinking and evidence from the text to prove and disprove that critic’s claims.

Yet… students, once the lightbulb goes on that this is simply a rinse and repeat of poem and song analysis to build an overall argument, they find that they can do it. I hear comments that “I just had so much to say” and that “it was easier than I expected.”

All thanks to a solid foundation that we add to throughout the year.

Song Analysis Lesson Plans

Because song analysis and poem analysis is a passion of mine, I decided to create pop-culture paired text song and poem analysis lessons to share with other English teachers.

Build a strong foundation for full-length novel study or use these lessons as a part of your novel or short story unit.

Make close reading, textual analysis and literary analysis less intimidating with 10 lesson sequences…that’s 31 CCSS-aligned song analysis and poetry analysis lesson plans for paired texts . Integrated close reading, text-based writing, speaking, research, and inquiry skills, make these pop culture lessons both engaging and worthwhile.

When you purchase the product bundle , you’ll receive 10 Detailed, CCSS-Aligned Lesson Plan Sequences (That’s 31 total lesson plans!) and Teacher Notes (41 Pages) that each provide an opener, writer’s notebook activity, poem + song analysis, and writing activity options.

But because I love you and would never leave you hanging…these lesson plans come with digital and print versions of all of the handouts and activities you need. Digital & Print Lesson Handouts (238 Pages/Slides) correspond with lesson plan activities and are designed to help students practice core skills as they engage with the texts.

10 Song Analysis Lesson Packs

Click HER E to grab all 10 lesson packs at a 30% discount!

Carrie Underwood’s song “Cry Pretty” & Macklemore & Ryan Lewis’ song “Growing Up”
William Ernest Henley’s poem “Invictus” & Imagine Dragons’ song “Whatever it Takes”
Maya Angelou’s poem “Still I Rise” and Tupac’s song “Still I Rise”
Stephen Dobyns’ poem “Loud Music” and Incubus’ song “Dig”
“Anti-Hero” by Taylor Swift
“Boulevard of Broken Dreams” by Green Day and “Brick by Boring Brick” by Paramore
“Hotel California” by the Eagles and “Stairway to Heaven” by Led Zeppelin
Protest Songs
“Mad World” by Tears for Fears and “A Million Dreams” sung by Pink / The Greatest Showman

About Lindsay Ann

Lindsay has been teaching high school English in the burbs of Chicago for 19 years. She is passionate about helping English teachers find balance in their lives and teaching practice through practical feedback strategies and student-led learning strategies. She also geeks out about literary analysis, inquiry-based learning, and classroom technology integration. When Lindsay is not teaching, she enjoys playing with her two kids, running, and getting lost in a good book.

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How to Write a Song Analysis for English Class

Listening to your favorite music might be an enjoyable pastime, but analyzing a song lets you apply what you're learning in English class to a favorite composition. Figurative language, tone and theme are just a few literary devices you can practice identifying as you write about music. By analyzing these elements, you can gain an greater appreciation for the practical application of the tools of English to songwriting.

Select an original, meaningful song for your paper topic. Consider the emotional depth of the lyrics, the themes and issues it introduces and its creative use of language as you choose a song to write about. For example, "Imagine" by John Lennon, which speculates about what a world full of peace would look like, presents a strong message about countering the effects of violence and spiritual conflict in the world.

Listen to the song with the lyrics in front of you. As you play the song, underline or highlight important lines and phrases that contribute to its meaning, as well as any personal thoughts or responses that come to mind. These reactions can help you shape the analysis of your song when you begin to write.

Introduce your song in the essay by giving some historical background about it, including the songwriter, year and any events that that shaped its creation. For example, "The Rising" by Bruce Springsteen showcases the resiliency of Americans after the terrorist attacks of Sept. 11, 2001. Describing this context would be a good way to introduce readers to the song and its theme of survival.

Analyze the lyrics by examining figurative language, phrases that describe something by comparing it to something else. In "The Sound of Silence," for example, Simon and Garfunkel use personification, which gives emotional characteristics to an object, animal or idea. By addressing the song to the "darkness" of nighttime, they emphasize the song's themes of loneliness and isolation. You can also write about the use of rhyme, repetition and other sound devices. In "Bleeding Me" by Metallica, the speaker uses repeated lines such as "I'm digging my way" and "This thorn in my side" to show his struggle in breaking away from addiction.

Analyze the song's use of musical arrangements. Think about how the song's choice of a major or minor key, dominant instruments and texture relate to the lyrics and theme and create a specific mood. For example, the minor piano chords and driving drumbeats of Adele's "Set Fire to the Rain" illustrate the speaker's desolation after the end of a bitter relationship.

Write a conclusion that emphasizes the main theme of the song. If you're writing about Christina Aguilera's "Beautiful," for example, you might say that the song encourages people who have been bullied to recognize and celebrate their uniqueness rather than let people's words hurt them. Draw your paper together in a way that shows how the song's lyrical and musical elements illustrate this message.

Things You'll Need

Milton District High School: Lyric/Song Writing and Analysis

Kori Morgan holds a Bachelor of Arts in professional writing and a Master of Fine Arts in creative writing and has been crafting online and print educational materials since 2006. She taught creative writing and composition at West Virginia University and the University of Akron and her fiction, poetry and essays have appeared in numerous literary journals.

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A Quick Reference Guide to Lyric Analysis

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AMTA-Pro Podcast April, 2019

Karen Miller, MM, MT-BC

1. Introduction

2. Rationale for developing the quick reference guide as a tool for music therapists

3. Common psychosocial music therapy techniques, including lyric analysis

4. Best practice components: theory, research, practice

5. Process for developing the quick reference guide as a tool for music therapists

6. 3-stage process of lyric analysis: explore, relate, apply

7. An overview of the Quick Reference Guide (see below)

Quick Reference Guide to Solution-focused Lyric Analysis in Psychosocial Music Therapy Treatment

Recommendations and Procedural Menu

Introduction

The Quick Reference Guide to Solution-Focused Lyric Analysis in Psychosocial Music Therapy Treatment is a procedural guideline for the use of lyric analysis as a tool within psychosocial music therapy treatment. The tool is intended for use by professional music therapists as well as music therapy students and educators. While lyric analysis is widely accepted as a method used to assist music therapy clients in identifying personal issues, exploring emotions, and relating to the experiences of others, the present tool is intended to pool information gained from research and clinical experience that will inform best practice by providing an easily accessible system for clinical decision-making. The tool is also intended to assist therapists and their clients in moving from the identification and expression of therapeutic material to positive action, thereby facilitating practical steps toward problem solving.

The Quick Reference Guide was built within the theoretical framework of cognitive behavior therapy (CBT). Resulting recommendations are consistent with CBT principles as well as informed by both research and practice, intentionally providing a solid foundation of theory, research, and practice upon which to base clinical decisions.

The tool may be useful when clinical goals are centered on the amelioration of various forms of distress. It is intended for work with clients exhibiting psychosocial needs who demonstrate verbal skills and reality-based cognitive processes sufficient to complete the steps involved. Emotional, social, cognitive, and communication ability should be considered carefully in the decision-making process along with other factors outlined in the guide.

Guidelines presented were gathered from existing peer-reviewed publications as well as from extensive clinical practice. Those recommendations found in published research are referenced throughout the document. The Quick Reference Guide to Solution-Focused Lyric Analysis in Psychosocial Music Therapy Treatment was developed by Karen Miller, MM, MT-BC, while Professor of Music Therapy at Sam Houston State University, with research assistance from the following graduate students:

Mary Kate Becnel, MM, MT-BC Alexandra Brickley, MM, MT-BC Joyce Chun, MM, MT-BC Marcus Hughes, MM, MT-BC Karina Melara, MM, MT-BC Chen Peng, MM, Zachary Pollard, MM, MT-BC Nicole Rogers Sarah Rossi, MM, MT-BC Hannah Sopher, MT-BC Annie Vandervoort, MM, MT-BC Michael Way, MM, MT-BC

NOTE: ( ) denotes research reference throughout the document.

Song Choice Recommendations

Consider client’s choice vs. therapist’s choice of song and the benefits of each (2,6,8,9,10,11,21,22)

Be aware of client’s potential associations (4,6,8,11,15)

Identify positive and negative messages in songs before choosing – consider the usefulness of each (6,8,15)

Choose music and lyrics that are relatable to clients in their current state (2,4,5,6,8,15,18,19,20)

Pay attention to music style and characteristics; impact of the music as well as lyrics (2,4,5,6)

Consider the impact of repetition in lyrics (6,14)

Realize the power of both music and poetry (lyrics) to elicit emotion (2,4,5,15)

Choose songs that address specific topics and/or cognitive distortions related to the client’s goals (2,4,5,6,8,9,10,11,15,20,21,22,23)

Consult team members on appropriate topics (3)

Song Presentation Recommenadations

Use the Three Stage Procedural Menu as a guide in preparation, being mindful that it may be necessary or beneficial to skip Stage 1 or move in and out of stages in a different order.

Allow ample time, typically 30 minutes or more, for a complete process leading to specific problem-solving (20,21,22,23)

Consider the benefits of live vs. recorded music (7,8,9,10,11,18,19,22,23)

Ensure high quality music and sound to maximize attention and impact (19)

Stress that there are no right or wrong answers when interpreting songs (4,19)

Adapt for varying levels of functioning, including verbal, sensory, and cognitive abilities and medication effects Give individual copies of lyrics to clients before beginning  (4,6,8,9,10,11,18,19,20,21,22,23)

Use large, bold font and easy reading format and consider numbering lines (4,19)

Instruct clients to mark lyrics that particularly stand out to them or give other assignment to actively engage clients with the lyrics (10,19)

Have clients re-read lyrics following song presentation (8)

Remain empathetic and use active listening skills to determine direction of discussion (3,4,6)

In a group setting, hear from everyone, and prompt clients to relate to and support one another (4)

Consider use of other modalities (illustration, art, movement, dance) to process the song prior to verbal processing (2)

Unless otherwise indicated, re-play song after the analysis (8)

As appropriate, encourage clients to share song with family, caregivers (11)

Assign specific homework related to discussion – consider use of worksheets as visual cues and structure for homework (1,8,19,22)

Always work within the boundaries of your training and ability; collaborate with team members, and refer clients to other therapists and health professionals when needed; maintain client’s emotional and physical safety as your top priority (4)

Three Stage Procedural Menu for Lyric Analysis Following Song Presentation

General Probes for Any Stage

Tell me more about that.

How did that make you feel? (8,9,11)

What does that remind you of? (8,9,11)

You seem (fill in emotion).

Stage 1: Explore (focus on the song)

~ Create probes directly from lyric content (e.g., Let’s talk about lines ________, What does the singer mean when he says ______? ) (2,4,5,6,18,20)

~ Other sample probes: (1,4,5,6,8,10,11,15,22)

Talk to me about this song.

What images were going through mind as you listened?

Tell me about the lyrics you highlighted/underlined.

What was the singer/songwriter experiencing?

What is the overall mood or message of the song?

Which lyrics represent thoughts or ideas that are rational or healthy?

Which lyrics represent thoughts or ideas that are distorted, irrational, or unhealthy?

What specific cognitive distortions can you identify in the lyrics?

What does this person do when he or she experiences difficult feelings?

How does that work for him/her? 

How can he/she cope?

What would you tell this person?

What is this person most afraid of/angry about/happy about, etc.? (Follow up with, What are YOU most afraid of/angry about/happy about, etc.? then continue at Stage 2.)

Who can this person depend upon, and for what? (Follow up with, Who can you depend upon, and for what? then continue at Stage 2.)

Stage 2: Relate (focus on the client, including the client’s identification with the song, connection to the songwriter, client’s own thoughts, feelings, and behaviors)

~ Create probes directly from lyric content (e.g., How do you relate to the line ______? )  (2,4,5,20,21,22)

~ Other sample probes: (1,2,4,5,6,8,9,10,11,21,23)

In what ways is your life like this person’s life?

What would you like to be different?

How does the song connect with what you are going through?

How do you relate to that?

Which of those thoughts or feelings have you experienced? When?

Which lyrics stand out most to you?

What makes them stand out?

What emotions or personal experiences/memories are triggered by those lyrics?

When have you felt that way? 

What was, or is, going on in your life that causes you to relate?

 What was going through your mind when you heard this? 

What was going through your mind when you felt that way?

What makes you feel that way now?

What needs to change?

Describe what a better future would look like.

What is going through your mind now? 

What is the quick, passing thought that triggers/triggered that emotion?

On a scale of 1-100, how much did you believe that thought?

How much do you believe it now?

What evidence can we find for that thought being true?

What evidence can we find for that thought being false?

If that thought is likely false, what true statement can we make to replace it?

Stage 3: Apply (focus on coping and follow through)

~ Sample probes: (1,4,6,8,9,11,20,23)

When you have felt that way, how did you cope?

What coping strategies have you tried?

How did they work? What happened? And then what? And then what? And then what?

What are your options?

What will be the consequences of that option? And then what?

(repeat for other options)

What would you tell a close friend or family member in a similar situation?

Next time you feel that way, what will you tell yourself?

What seems to be the best direction or choice?

What is the first step?

What will you do today to get started?

May I follow up with you to see how it went? (Assign specific homework related to discussion.)

References 

1. Beck, Judith S. Cognitive Behavior Therapy: Basics and beyond . New York: Guilford, 2011. Print.

2. Bednarz, L. F., & Nikkel, B. (1992). The Role of Music Therapy in the Treatment of Young Adults Diagnosed with Mental Illness and Substance Abuse. Music Therapy Perspectives, 10 (1), 21-26. doi:10.1093/mtp/10.1.21.

3. Boenheim, C. (1966). Music and Group Psychotherapy. Journal of Music Therapy , 3 (2), 49-52. doi:10.1093/jmt/3.2.49.

4. Dvorak, A. L. (2017). A Conceptual Framework for Group Processing of Lyric Analysis Interventions in Music Therapy Mental Health Practice. Music Therapy Perspectives , 35 (2), 190-198.

5. Edgar, K. (1979). A case of poetry therapy. Psychotherapy: Theory, Research & Practice, 16 (1), 104-106. doi:10.1037/h0085863.

6. Heimlich, E. P., & Mark, A. J. (1990). Metaphoric Lyrics as a Bridge to the Adolescentâ € TMs World. Paraverbal Communication with Children , 159-173. doi:10.1007/978-1-4613-0643-6_10.

7. Hilliard, R. E. (2006). The effect of music therapy sessions on compassion fatigue and team building of professional hospice caregivers. The Arts in Psychotherapy , 33 (5), 395-401. doi:10.1016/j.aip.2006.06.002.

8. Ho, M. K. (1984). The Use of Popular Music in Family Therapy. Social Work, 29 (1), 65-67. Retrieved January 21, 2017, from http://www.jstor.org/stable/10.2307/23714274?ref=search- gateway:1ef22f67741f6661fe52abdffd94003b.

9. James, M. R. (1988). Music Therapy Values Clarification: A Positive Influence on Perceived Locus of Control. Journal of Music Therapy , 25 (4), 206-215. doi:10.1093/jmt/25.4.206.

10. Jones, J. D. (2005). A Comparison of Songwriting and Lyric Analysis Techniques to Evoke Emotional Change in a Single Session with People Who are Chemically Dependent. Journal of Music Therapy , 42 (2), 94-110. doi:10.1093/jmt/42.2.94.

11. Lelieuvre, R. B. (1998). “Goodnight Saigon”: Music, fiction, poetry, and film in readjustment group counseling. Professional Psychology: Research and Practice , 29 (1), 74-78. doi:10.1037//0735-7028.29.1.74.

12. Maultsby, M. C. (1977). Combining Music Therapy and Rational Behavior Therapy. Journal of Music Therapy, 14 (2), 89-97. doi:10.1093/jmt/14.2.89.

13. Montello, L., & Coons, E. E. (1998). Effects of Active Versus Passive Group Music Therapy on Preadolescents with Emotional, Learning, and Behavioral Disorders. Journal of Music Therapy, 35 (1), 49-67. doi:10.1093/jmt/35.1.49.

14. Nunes, J. C., Ordanini, A., & Valsesia, F. (2015). The power of repetition: Repetitive lyrics in a song increase processing fluency and drive market success. Journal of Consumer Psychology , 25 (2), 187-199. doi:10.1016/j.jcps.2014.12.004.

15. Sargent, L. (1979). Poetry in Therapy. Social Work , 24 (2), 157-159. Retrieved January 21, 2017, from http://www.jstor.org/stable/10.2307/23713665?ref=search-gateway:912083b6ff7392e3266b89282b21ef4f

16. Silverman, M. J., & Leonard, J. (2012). Effects of active music therapy interventions on attendance in people with severe mental illnesses: Two pilot studies. The Arts in Psychotherapy, 39 (5), 390-396. doi:10.1016/j.aip.2012.06.005

17. Silverman, M. J. (2007). Evaluating Current Trends in Psychiatric Music Therapy: A Descriptive Analysis. Journal of Music Therapy, 44 (4), 388-414. doi:10.1093/jmt/44.4.388

18. Silverman, M. J. (2009). The Effect of Lyric Analysis on Treatment Eagerness and Working Alliance in Consumers Who Are in Detoxification: A Randomized Clinical Effectiveness Study. Music Therapy Perspectives, 27 (2), 115-121. doi:10.1093/mtp/27.2.115

19. Silverman, M. J. (2009). The Use of Lyric Analysis Interventions in Contemporary Psychiatric Music Therapy: Descriptive Results of Songs and Objectives for Clinical Practice. Music Therapy Perspectives, 27 (1), 55-61. doi:10.1093/mtp/27.1.55

20. Silverman, M. J. (2010). The effect of a lyric analysis intervention on withdrawal symptoms and locus of control in patients on a detoxification unit: A randomized effectiveness study. The Arts in Psychotherapy, 37 (3), 197-201. doi:10.1016/j.aip.2010.04.001

21. Silverman, M. J. (2015). Effects of educational music therapy on illness management knowledge and mood state in acute psychiatric inpatients: A randomized three group effectiveness study. Nordic Journal of Music Therapy, 25 (1), 57-75. doi:10.1080/08098131.2015.1008559

22. Silverman, M. J. (2015). Effects of Lyric Analysis Interventions on Treatment Motivation in Patients on a Detoxification Unit: A Randomized Effectiveness Study. Journal of Music Therapy, 52 (1), 117-134. doi:10.1093/jmt/thu057

23. Silverman, M. J. (2016). Effects of a Single Lyric Analysis Intervention on Withdrawal and Craving With Inpatients on a Detoxification Unit: A Cluster-Randomized Effectiveness Study. Substance Use & Misuse, 51 (2), 241-249. doi:10.3109/10826084.2015.1092990

About the Podcast Speaker

Ms. Miller has presented clinical and research material regionally, nationally, and internationally. Her research is published in the Journal of Music Therapy and Music Therapy Perspectives . She is a Past-President of the American Music Therapy Association’s Southwestern Region (SWAMTA) and has served the American Music Therapy Association (AMTA) as a long-standing Assembly Delegate and as co-chair of the organization’s Academic Program Approval Committee.

As Director of Music Therapy at SHSU, Professor Miller contributed to both qualitative and quantitative growth of music therapy programs through endeavors such as overseeing the development of graduate programs in music therapy, developing the on-campus SHSU Music Therapy Clinic, and establishing a wide variety of practicum and internship programs. Professor Miller gained prior university teaching experience at both the University of the Pacific in Stockton, California, and The Florida State University in Tallahassee, Florida.

Ms. Miller is also a singer/songwriter and has produced two CD’s of original songs.

Her music education and music therapy studies were completed at Oklahoma Baptist University (B.M.E.) and The Florida State University (M.M.).

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Music as Poetry Analysis Activity for Any Song - Digital and Print

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Description

Teaching students to analyze poetry can be challenging. This free resource uses pop culture music (almost any song of your choosing will work) to engage students in discussion about lyric poems. Song analysis activities make teaching poetry fun!

This song analysis activity is included in different versions:

1. A condensed two-page graphic organizer

2. A 14 page resource with one question on each page so you can use them individually, with learning stations, or with gallery walks

This resource is included both as a Google Slides resource and as a secured PDF you can print.

The included prompts help with analyzing song lyrics to teach poetry. They encourage students to identify parts of poems, analyze figurative language, and apply critical thinking.

Questions in this song analysis activity will help teachers facilitate lively class discussions. Use this engaging poetry analysis assignment as a hook for a larger poetry unit, as a tool to teach students about analysis, or as a one-day, stand-alone lesson.

Intended Grade Levels

I recommend this resource for use with middle and high school students.

Note: This activity is not editable.

UPDATE: This analyzing song lyrics resource now includes a Google Slides and TpT Easel version!

If you find this activity useful, you may also enjoy these related resources:

Analyzing Texts Bundle

Poetry Analysis Graphic Organizers and One Pager

Poetry Journal Prompts for Secondary Students

Playlist of My Year Writing Assignment

Figurative Language Truth or Dare Game

And more here !

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