| Abstract | This critical narrative inquiry explores autobiographical narratives of songwriters, calling attention to experiences of alienation. Silver’s (2018) “wheel of alienation” is the conceptual framework for alienation used in this study: a sociological model synthesizing critical theory (Benjamin, 1935/2008; Brookfield, 2004; Fromm, 1941; Horkheimer & Adorno, 1944/2020), existentialism (Howie, 2014; Jaeggi, 2014; Rae, 2010) and interpretivist sociology broadly (McIntyre, 2008, 2011, 2019; Scarborough, 2017; Silver, 2018). The author provides this multi-factor scaffolding both to identify non-dominant narratives by applying multiple theoretical perspectives (Bruner, 1991; Hadley, 2013b; Morgan, 2002; White, 2007), and to put forth alienation, the “cutting off” of the ability to act on one’s own accord within a given social context, as a useful concept in understanding experiences of agency, authenticity, growth and integration–or lack thereof–in our current pluralistic world (Jaeggi, 2014; Kalekin-Fishman & Langman, 2015; Rae, 2010; Silver, 2018). The author interviewed four songwriters about experiences of alienation that emerge within their process of inspiration, drafting, collaboration, performance, recording, touring, marketing, and so on (Cobb, 2016; Long & Barber, 2017; McIntyre, 2008, 2011, 2019). Four themes emerged as salient in the narrative data: interaction with normative expectations, agentic actions, alienation experiences, and communal experiences, which were then separated into subthemes such as discovery of creative agency, split identity, alienation from family, and external/internal ego fixations. Considerations for community music therapy are discussed, as well as how institutions and individuals might foster ecological conditions for more meaningful and sustainable songwriting experiences. |
