A songwriter case study around Max Martin analyses how his technique of ‘melodic math’ purposefully incorporates aspects of the typology of lyrical hooking devices. A reception test was conducted to collect feedback on songs created as a means of testing the results of the study. To validate the typology, a selection of songs was composed with lyrical hooking devices purposefully written into them to them to see their effect on listeners. From the analysis, a framework of primary, secondary and tertiary devices is created which not only allow a better understanding of the hook in songs, but allows us to consider the intentional, accidental or purposeful use of hooking devices by hit songwriters and to develop a better understanding of their craft and artistry as part of a holistic understanding of production and songwriting practice as a whole. Lyrics are arguably at the forefront of commercially successful popular songs and in the developing typology, prosody is a primary element in the analysis of 1319 songs in this study. Drawing on initial work by Burns (1987), Traut (2005) and Kronengold (2005), this thesis addresses the idea of hooking devices found in number one chart songs between 19 to develop a typology of lyrical hooking devices. Recent studies from psychology have explored the hook as an 'earworm', which Levitin (2006), Beaman and Williams (2010) and Halpern and Bartlett (2011) explore and how they affect listeners but aside from a few isolated examples, musicology has seemed resistant to any sustained exploration of the concept preferring instead to discuss these features as a motif, theme, or riff. Making it easier to play, especially for beginners.The hook is a musical device that has been purposefully incorporated into songs and acknowledged as a musical feature that literally gets inside the head of the listener. There are some chords are replaced with another chord.
How to play Hey Jude Guitar Chords in D major scales.
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