The (Un)Importance of Lyrics in Songwriting

Lazar Ostojić

doi:10.5937/newso2565145O

Lazar Ostojić University of Arts in Belgrade, Faculty of Music, Department of Music Theory

DOI: https://doi.org/10.5937/newso2565145O

Keywords: popular music, lyrics, songwriting

Abstract

By examining a range of examples from renowned artists, this paper argues that, in many cases, music dictates the direction of songwriting, with lyrics adapting to fit the established musical structure. Through detailed analysis of song creation, the study demonstrates how musical elements take precedence, while the lyrical components often serve to complement rather than define the overall music-making process. This research challenges conventional opinions on the importance of lyrics in such processes, asserting that music-making is fundamentally guided by its inherent qualities, with sung or spoken words serving a secondary, yet significant role. Ultimately, the paper underscores the power of music to shape and influence the lyrical content, offering a nuanced understanding of the complex relationship between music and lyrics in popular songwriting.

Author Biography

Lazar Ostojić, University of Arts in Belgrade, Faculty of Music, Department of Music Theory

(b. 1989) is a Ph.D. Candidate at the Department of Music Theory, Faculty of Music in Belgrade. He obtained his Master’s degree at the same department, where he continues his research work. In parallel with his academic engagement he works as a songwriter, music producer, and creative consultant specializing in heavymusic genres. Under the personal brand Dark Industry (YouTube: @darkindustry) he creates educational video content in the fields of metal music theory and songwriting, publishing lessons and instructional materials with the aim of disseminating academic knowledge to musicians, students, and enthusiasts. His primary research field is popular music studies with a focus on theoretical and compositional approaches across a range of contemporary genres. His doctoral thesis addresses the phenomenon of the riff in rock-music-related genres. He is also active as a ghostwriter for numerous music tracks published by popular music bands internationally. As part of his educational outreach he regularly appears as a guest lecturer in music schools where he introduces high school students to foundational concepts in popular music theory. He is a member of the International Association for the Study of Popular Music (IASPM).