2

Emotion, Meaning and the Voice

The voice, with its seemingly limitless capacity for expression, plays a powerful role in

conveying emotion and meaning in music. Meaning is defined by Ian Cross and Elizabeth

Tolbert as “[an] original something that refers to something else beyond itself” (2011: 24). In this

paper, I use the word meaning to encompass the non-emotional responses, impressions,

associations or experiences that occur within a listener while interacting with music. In the

history of European concert music, discussions of emotion and meaning in music revolved

around the voice beginning in the seventeenth and eighteenth centuries. Before then, European

writers did not believe that music had meaning in itself, but was merely a source of pleasure

(Juslin and Sloboda 2010: 47). Over time, four schools of thought have emerged: the absolutist

school, the referentialist school, the formalist school, and the expressionist school. The absolutist

school conforms to the understanding that meaning in music comes only from the context of the

work itself. The referentialist school believes that, in addition to the absolutist’s abstract

meanings, “music also communicates meanings which in some way refer to the extramusical

world of concepts, actions, emotional states, and character” (Meyers 1956:1). The formalists

argue that the “meaning in music is primarily intellectual,” while the expressionists argue that

music is only “capable of exciting feelings and emotions in the listener” (Meyers 1956:3). It is

possible to be a member of two schools of thought. For example, an absolute expressionist would

claim that emotional meaning in music transcends learned responses; in contrast, a referential

expressionist would insist that emotional meaning is a result of learned experiences and involves

the context of the music.1

Clearly, theorists and analysts have studied musical meaning from a variety of positions.

Yet the variables in music have created something of a barrier to clarity. Dynamics, articulations,

tempo, rhythm, tone quality, and pitch are only a few of the variables that must be considered

3

when searching for the exact cause of the emotional response in listeners. In live performance,

the variables increase with the visual stimuli provided by conductors and performers. In works

performed with text, it is most often thought that the response felt by audiences is one that is

learned, and therefore dictated (Meyers 1956:7). For example, if a listener hears a text about

death and mourning, he or she is likely to report feelings of sadness based on association, rather

than reporting actual feelings of sadness. In my capstone recital, I endeavored to discover how

these categories of meaning apply in a recital with a diverse vocal repertoire. My recital explored

the integral role of vocal music in expressing emotion through both text and context, with a focus

on sense of place, longing, and positive change.

A Sense of Place

Personal identity is often tied to a specific home place, or set of places, which hold

meaning for an individual. Home may refer to the town in which one was raised, the country in

which one was born, the house in which one lives, the place of family origin or residence, or the

place to which one continually returns. In each case, a set of experiences and emotions surface

within each individual. The pieces in my recital that conformed to this theme were “If I had a

Fine White Horse” from Secret Garden, “Chanson Eccosaise” by Maurice Ravel, and “The

Voice” by Brendan Graham (2007), which evokes home or a sense of place.

Brendan Graham is a well-known composer of Irish popular music. Born in County

Tipperary in 1945 (Casey 2011), Graham is best-known as a novelist and for his 2002 lyrics,

“You Raise Me Up” (Peer Music 2013). Surprisingly, he did not begin writing songs until 1994,

at which time he won the Eurovision Song Contest with “Rock n’ Roll Kids.” Two years later,

Graham won the same contest with “The Voice” (Peer Music 2013). Brendan Graham will

celebrate his seventieth birthday next year and currently resides in West Ireland (Casey 2011).

4

The voice in this song represents the voice of the homeland speaking of history, seasons,

war, peace, and the future. This innominate voice invokes a common Irish tradition: personifying

the land or country as a female entity, which the Irish refer to as Erin. She is said to embody the

land along with the collective emotions of the people. The concept of homeland resonates

strongly with the Irish because of their long history of exile and diaspora. As Erin begins to

speak there is a sense of comfort to her “child” in the lyric, “be not afraid” (Figure 1). Then the

text explains more about Erin and the accompaniment repeats in a calming but active manner.

Again Erin soothes the singer, claiming the singer will never be alone in the line “I will remain”.

If there was any doubt that the voice was anything other than the homeland, Erin dispels it in the

next strophe: the lyric elaborates on her existence in every season, ending on the hope of

[growth] in spring. In this strophe, Erin reveals why she has spoken. She asks the listener to

“bring me your peace” so that peace will heal the wounds she has sustained in war. These

dramatic lyrics are accompanied by a march-like rhythm.

This song begins with a modal melody that soars over open fifths:

5

The song’s lyrics and music work together to create an ethereal atmosphere. The first melodic

line begins on a high D and cascades down in a melisma to a G. This gesture is repeated, calling

to mind a sighing or weeping effect. At the culmination of the introductory section the singer

moves in ascending stepwise motion to an open high E, sustained over a moving accompaniment

that drives into the first strophe. Here the piano (originally a violin) moves into the dominant key

for a lilting solo over a chordal accompaniment. The dynamic increases into the key change at

the return of the vocal line. The sound shifts as a counter-melody joins the marching rhythms.

The repetitive lyric “I am the Voice” signifies the end of the song. For a sense of finality the

singer alters the reoccurring melodic pattern to rise to a high E. The song as a whole brings

together a sense of home and an Irish musical style. The drones in the introduction do not make a

complete chord. Without the third, the open fifths could be implying any kind of G mode. Later,

the key is established as major rather than a mode. The compound 6/8 meter is prominent among

many traditional Irish tunes.

Longing in Music

Longing is the most common emotion expressed in the repertory for my recital. It

encompasses love, lust, grief, want, and loss. Within each of those particular emotions,

referentialism becomes more applicable due to the significance of the circumstance in the

definition of longing. The aria “Lullaby” by Gian Carlo Menotti (1950) provides a case in point.

Gian Carlo Menotti (1911- 2007) was the sixth of ten children and began composing

before his thirteenth birthday. At the age of 39, he completed the opera The Consul, which was

well-received, and for which he was praised for his skill as a dramatic and theatrical composer.

The Consul opened in Cambridge Theater on February 7, 1951 (A.J.1951:166). The Consul was

Menotti’s first complete opera (Archibald 2013) and the show was said by many to display his

6

greatest qualities (Benjamin 1951: 247). Having been awarded the Pulitzer Prize and the Drama

Critic’s Award, The Consul has been performed in some twenty countries and was translated into

twelve languages (Archibald 2013). A serious style that makes use of the human voice and new

musical techniques set The Consul apart from other operas. The opera tells the story of Magda

Sorel, a woman living within some fictional dictatorship. Magda’s husband, John, is wanted by

the secret police. He flees the country and urges Magda to get a visa for his mother, herself and

their child. She never sees the consul, despite her pleading. The second act leaves her child and

her mother-in-law dead. In the third and final act, Magda discovers that her husband intends to

return to see her. She decides that the only way to keep him from danger is to kill herself. John

returns and is captured during his search for her. Magda gasses herself before hearing the news.

“Lullaby” is sung at the beginning of the second act. The mother-in-law is singing to the child,

lulling it to sleep and a peaceful death. She sings of some of her own bitterness, and the child is

dead by the end of the aria.

Each phrase in this song expresses a longing for the peace that can only be found in

death. The song’s rocking accompaniment establishes it as a lullaby. The form of the aria is

AABA’ (Figure 2). The melody dips and curves in the A sections as the lyrics reference happy

dreams for the child. The lyrics of the bridge or B section express a moment of individual

revelation; the sadness of the situation is exposed in full through the dramatic contrast between

high and low registers, which resemble the ragged breath of a grieving individual:

7

The song’s rocking feel derives from its use of 6/8 meter and dotted rhythms. The quality of

sound is both warm and haunting; the lyrics comfort the child while the grandmother grieves the

loss of such a young life. The longing exemplified here is universal to those who grieve and

could only be communicated through the grandmother’s circumstances.

By contrast “Ag an Phobal” is a traditional Irish sean-nós song which I transcribed for

this program (Figure 3). Sean-nós is considered to be the oldest musical tradition in Ireland

(Wilton 2013). Sung in Gaelic, sean-nós is associated with an understated presentation in a

small, personal venue and is prized for the virtuosity required to complete an effective

performance (Hast 2004:84). The text of “Ag an Phobal” begins from the perspective of the man,

but changes to the woman’s perspective in the second strophe (Figures 4 and 5). She discovers

that her lover is married with children and that she will never be able to be with him. She sets

aside her anger in the end to bless him upon his road. These last verses embody a longing for

forbidden love, or a relationship that began but could not be continued.

“Ag an Phobal” is a strophic-form song. Within each strophe, the melody becomes a

springboard for ornamentation and individual expression. The original tradition calls for

unaccompanied performance. The monophonic texture allows the listener to be transported by

the subtle flex in the voice and winding story. An open and natural sound is expected of the

vocalist. The voice should resonate in the chest with a warm tone quality. The song is in ¾

8

meter, which is highly flexible so as to accommodate the ornamentations, which extend the

phrasing. The song is in a Lydian mode. The strophe follows a wave-like phrase pattern: the first

line travels in a low to high note curve, the second makes several smaller curves, the third begins

high and descends slowly into the fourth, which is a repeat of the first melodic line. The song

conveys the idea of unrequited love. Without the full story, the singer would be hard put to

communicate the longing that embodies both the loss of a lover and wish for a blessing on his

future. Other songs from my recital that fall in this theme include “Faites-Lui mes Aveux” by

Charles Gounod, “Gretchen am Spinnrade” by Franz Schubert, “Chanson Espanole” by Maurice

Ravel, and “Chi Vuol La Zingarella” by Giovanni Paisello.

Positive Change

The third emotion represented in my recital was positive change. Each song in this

category communicates a sense of new purpose and direction. I chose to focus on songs written

from the perspective of women. These songs convey a sense of personal empowerment,

cautionary warnings, and triumph over adversity, as exemplified by “What You Don’t Know

About Women” by Cy Coleman (1989).

Cy Coleman (1929-2004) began piano lessons at the age of four, and by the time he was

seven, was giving recitals in both Steinway and Carnegie halls. Coleman attended New York

College of Music, where he studied counterpoint and orchestration. It was during his time there

that he developed a fondness for jazz and began performing at nightclubs in a jazz trio and

recording as a jazz pianist. In 1953, he began working in Broadway theatre (Block 2013).

Twenty-six years later, Coleman joined Larry Gelbart and David Zipple in the production of City

of Angels. The story takes place in 1940s Hollywood. Two plots occur simultaneously: one in

reality, and one in film. In the film, Detective Stone and his secretary, Oolie, work to find Alaura

9

Kingsley’s step-daughter, the “bad girl” Mallory. Stone’s past is haunting but the story keeps

getting rewritten. In reality, Stine is a novelist in Hollywood trying to adapt his book for the

screen. Stine deals with pressure by womanizing. His wife, Gabby, discovers Stine’s affair with

his boss’s secretary, Donna, and leaves. The musical explores the conflict between creative

demands and creative integrity. Stone and Stine hinder and help each other on a journey through

a creative process. “What You Don’t Know About Women” occurs early in the show as a duet

between Gabby (Stine’s wife) and Oolie (Stone’s secretary). City of Angels is considered by

many to be the greatest comeback show in the history of Broadway. Coleman had lost much of

his popularity earlier in 1989 with his flop, Welcome to the Club, but that failure was forgiven by

the public reception of City of Angels.

A little jazz introduces a song of sweet and sexy sass. Gabby and Oolie express their

frustration with Stein. The syncopated melody of “What You Don’t Know About Women”

follows an ABACD song from. Spunky lyrics flow from both singers. The melody and harmony

compliment and accentuate the lyrics. As shown in Figure6, the text in the A section of the song

establishes the tone of the piece. The dichotomy between Gabby and Oolie is erased as they sing

almost identical melodies. The warm timbre of the song exemplifies the boiling tempers of the

two women, and the lyrics require crisp diction. The two singers represent a universal “used

woman” who chooses to move on and away from the man she thought she loved. The D major

key signature is deceptive because the melody is scattered with accidentals; while this is

common in vocal jazz, most musicals had very clear keys and tonal centers for every number.

The song dynamics and melody line create a storm of passion. Beginning with a calm statement

of dissatisfaction, each subsequent phrase has its own small climax that reverts to a matter-of-

10

fact feel. Yet, as the song continues, the explosions become increasingly dramatic until the final

burst in the last four lines.

It is this final burst that expresses the theme of positive change; it is a declaration of

exasperation with, and termination of, the relationship. The song empowers the women,

demonstrating a renewed vigor in their life paths.

A different form of positive change is expressed by “Children Will Listen” by Stephen

Sondheim (1988). In 1988, Stephen Sondheim and James Lapine premiered the musical, Into the

Woods (Sondheim 2010: 57). The plot follows a fictional Baker and his Wife through a story

entwined with many well-known fairytales: Cinderella, Jack and the Bean Stalk, Little Red

Riding Hood, Rapunzel, and of course the wicked Witch. Act One is essentially a complete

11

fairytale. It is the quest for wishes and the having those wishes fulfilled at any cost. The happy

ending of Act One is slightly tainted by blind and crippled stepsisters and ever more wishing.

The Act One finale, “Ever After,” leaves more than a little to be explained. In Act Two, the

fairytale world begins to unravel. Instead of a quest, this is the reality of happily ever after, as

consequences for their actions begin to take a toll on the fairytale characters. As characters

continue to cheat and blame and die, the act comes to a halt. A giant has been killed, some

mothers and children have died, and in her grief, the Witch begins the finale with “Children Will

Listen.”

This song expresses a moral to hone in on the consequences in Act Two of Into the

Woods (Figure 7). The witch sings this song as a mother who has lost her child. The melody is

tonal and, as in much of Sondheim’s music, it sounds effortless when executed correctly. The

piano accompaniment sounds like rippling water due to rolling chords that emphasize the vocal

line:

The key change from C major to the dominant key of G major suggests a passage from mourning

to hope. The piano accompaniment avoids the third during the vocal line so to allow the singer to

solidify the chord and the harmony.

Aside from its sheer beauty, this song expresses positive change and the empowerment

that stems from self-reflection. Its message is universal because it can be sung by either a parent

or a child. While the parent regrets the changes she wishes she could have made or reflects on

12

the lessons she has learned, the child speaks from immediate experience: the knowledge of his or

her own potential to outshine the stars. In this way, “Children will Listen” embodies positive

change in a world where some parents do not realize the effect of what they say on those around

them. It is probably the most universal call for change in the songs I have explored as seen by the

other songs from my recital in this theme: “Go ‘Way from My Window” by Luigi Zaninelli,

“Ladies who Lunch” by Stephen Sondheim, “I am Changing” from Dreamgirls, and “Fewer

Words” by Ricky Ian Gordon.

Conclusions

Emotion and meaning in music stem from our cultures, our individual experiences, and

something that sound carries within itself. Vocal music, in particular, employs both what is

nurtured and what is natural. Meaning is carried in text, dynamics, melody, rhythm, tempo, and

most importantly, in listening. As music psychology continues to grow as an area of study, we

can only hope to remember that music is art and science combined. My recital has shown that

both absolutist and referentialist schools of thought are applicable to music. In fact, the same

could be said for formalist and expressionist thought. Each of the four schools offers a valid

explanation behind the meaning in music. Yet, one without the other provides only a fraction of

the meaning perceived by listeners. In short, music should be analyzed through all four methods

so as to maximize the understanding of emotion and meaning in music.

13

End Notes:

1: The various classifications of thought leave gaps in analysis. The three most problematic areas

are: hedonism, which mistakes aesthetic experience as sensual pleasure; atomism, which seeks to

understand and explain music as separate and distinct sounds; and universalism, which is the

common belief that responses to music are natural, universal and necessary, that is to say that

they are responses dictated by acoustic properties such as vibrations and the ratios of intervals

(Meyers 1956:5).

14

Sources Cited

A.J. 1951. “The Consul.” The Musical Times 92(1298): 166.

Archibald, Bruce and Jennifer Barnes. "Menotti, Gian Carlo." Grove Music Online. Oxford

Music Online. Oxford University Press, accessed November 5, 2013, < http://0-

www.oxfordmusiconline.com.tiger.coloradocollege.edu/subscriber/article/grove/music/1

8410 >

Banfield, Stephen. 1994. Sondheim’s Broadway Musicals. New York: University of Michigan

Press.

Benjamin, Arthur. 1951. “The Consul.” Music & Letters 32(3): 247-251.

Block, Geoffrey. "Coleman, Cy." Grove Music Online. Oxford Music Online. Oxford University

Press.Web. 29 Aug. 2013. <http://0-

www.oxfordmusiconline.com.tiger.coloradocollege.edu/subscriber/article/grove/music/0

6077>.

“Brendan Graham.” Peer Music: The Global Independent. Accessed November 13,2013. <

http://www.peermusic.com/peermusic/index.cfm/artist-writer/artist-details/?artist_id=351

>.

Casey, Philip. May 8, 2011. “Graham, Brendan.” Irish Writers Online. <

http://www.irishwriters-online.com/graham-brendan/ >.

Cross, Ian and Elizabeth Tolbert. “Chapter 3: Music and Meaning.” The Oxford Handbook of

Music Psychology. Pp. 24-34. Eds. Susan Hallam, Ian Cross, and Michael Thaut. New

York: Oxford University Press, 2011.

Edney, Katheryn. 2007. “Resurrecting the American Musical: Film Noir, Jazz and the Rhetoric

of Tradition in City of Angels.” The Journal of Popular Culture 40(6): 936-952.

15

Hast, Dorothea E. and Stanley Scott. 2004. Music in Ireland. New York: Oxford University

Press.

Horowitz, Mark Eden. 2007. “Biography of a Song: Children Will Listen.” The Sondheim

Review 14(1): 27-33.

Horowitz, Mark Eden. 2010. Sondheim on Music: Minor Details and Major Decisions, second

edition, pp. 81-90. Toronto: The Scarecrow Press, Inc.

Krumhansl, Carol L. 2002. “Music: A Link Between Cognition and Emotion” Current

Directions in Psychological Science. 11(2): 45-50.

Meyer, Leonard. 1956. Emotion and Meaning in Music. Chicago: Chicago University Press.

2010. Music and Emotion: Theory, Research, Applications. Eds. Patrik N. Juslin and John A

Sloboda. New York: Oxford University Press.

Sondheim, Stephen. 2011. Look, I Made a Hat, pp. 56-109. New York: Alfred A. Knopf.

Standland, James Ernest. 2008. Luigi Zanielli: Rehearsing, Performing, and Conducting Selected

Works 2005—2008 pp. 8-15. Ann Arbor: ProQuest LLC.

Stempel, Larry. 2010. Showtime: A History of the Broadway Musical Theater. New York: W. W.

Norton and Company.

Turino, Thomas. 2008. Music as Social Life: The Politics of Participation. Pp. 1-22. Chicago:

The University of Chicago Press.

Williams, Sean. 2010. Focus: Irish Traditional Music. New York: Routledge.

Wilton, Peter. "Sean-nós." The Oxford Companion to Music. Ed. Alison Latham. Oxford Music

Online. Oxford University Press. Web. 5 Feb. 2013. <http://0-

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>.

16

APPENDIX

Figure 1

I hear your voice on the wind.

And I hear you call out my name.

Listen my Child you say to me

I am the voice of my history

Be not afraid come follow me

Answer my call and I’ll set you free.

I am the voice in the wind and the pouring rain

I am the voice of your hunger and pain

I am the voice that always is calling you

I am the voice I will remain

I am the voice in the fields when the summer’s gone

The dance of the leaves when the autum wind blows,

N’er do I sleep throughout all the cold winter long

I am the force that in springtime will grow.

(Solo)

I am the voice in the past that will always be

filled with my sorrows and blood in my fields

I am the voice of the future Bring me your peace

Bring me your peace and my wounds they will heal

I am the voice in the wind and the pouring rain

I am the voice of your hunger and pain

I am the voice that always is calling you

I am the voice

I am the voice in the past that will always be

I am the voice of your hunger and pain

I am the voice of the future

I am the voice, I am the voice

I am the voice, I am the voice

17

Figure 2

A:

I shall find for you shells and stars 1

I shall swim for you river and sea 2

Sleep, my love. Sleep for me. 3

My sleep is old. 4

A:

I shall feed for you lamb and dove. 5

I shall buy for you sugar and bread. 6

Sleep, my love. Sleep for me. 7

My sleep is dead. 8

B:

Rain will fall but baby won’t know. 9

He laughs alone in orchards of gold. 10

Tears will fall but baby won’t know. 11

His laughter is blind. 12

Sleep, my love, for sleep is kind. 13

Sleep is kind when sleep is young. 14

Sleep for me. Sleep for me. 15

A’:

I shall build for you planes and boats. 16

I shall catch for you cricket and bee. 17

Let the old ones watch your sleep. 18

Only death will watch the old. 19

Sleep. Sleep. Sleep. Sleep. Sleep. Sleep. Sleep. Sleep. 20

(Menotti)

18

Figure 3

19

Figure 4

Ag an phobal Dé Donhnaigh thug mé mórchion don chailín 1

Sí ba deise is ba bhreácha dar tógadh riamh I mbaile 2

Bhí a béilín mar bheadh an rós ann is bhí a caoinchom mar bheadh an sneachta 3

‘S a Rí nach bhfuil mo lóistín san dit a gcoirionn sí a leabaidh 4

Tá an rógaire ‘o mo mhealladh is tá’n peacadh a dhéanamh 5

Tharraing sé mo chroí istigh agus bhí sé arís a shéanadh 6

Ach má tá do bhean sa bhaile agat nó do leanbán le bréagadh 7

Pill arís uirthi a shladaí ‘s cha bhíonn roinnt agam féin leat. 8

Dá mbíodh a fhios ag mo dheartháir mo leatrom ba trua leis 9

Dá mbíodh a fhios go dearfa bheadh air imní agus buaireamh 10

Fá mo chéad searc bheith mo thréigean is an créatúr botch a lua liom 11

‘S tú m’ansacht ar fhearaibh Éireann a’s in do dhiaidh atá mé buartha. 12

Dá mbíodh péire glan sciathán as mo chliatháin féin anuas liom 13

Dá mbíodh fhios go dearfa go rachainn ón buachaill 14

D’éireochainn féin in aired mar bheadh an éanlaith fá na cuanta 15

Nó go n-insínn mo ghearán do mo leannán ar an uaigneas. 16

Bliain agus daichead dá mairfeá thusa a bhuachaill 17

Do ghrása cha dtabharfainn do éinneach ar an domhan 18

Ach nuair nach bhfuil na buaibh agam ná na buaraigh lena gceangal 19

Seo mo chúig bheannacht déag duit is beimid araon ag goil ‘na bhaile. 20

(Williams 2010:171)

20

Figure 5

At the congregation on Sunday I gave great affection to the girl 1

She was the prettiest and the finest that was ever reared in any townland 2

Her little mouth was like roses and her gentle waist like snow 3

And God I wish my lodging was where she dresses her bed. 4

The rogue is seducing me and the sin is being committed. 5

He drew my heart inside and denied it thereafter 6

But if you have your wife at home and your little child to coax 7

Return again to them, you wrecker, and I’ll have nothing to do with you. 8

Indeed if my brother knew my oppression he would pity me 9

Indeed if he knew he would be worried and upset 10

Because my first love was deserting me and the poor creature being engaged to me 11

You are my beloved of the men of Ireland and after you I am sorrowful. 12

If I had a smooth pair of wings down both my sides 13

Indeed if I had I would go from the boy 14

I would rise up like the birds by the sea bays 15

To tell my story in the solitude to my lover. 16

A year and forty if you lived my boy 17

Your love I’d never give to anyone in the world 18

But since we haven’t cattle or the spancels to tie them with 19

My blessings upon you and let us each us go home. 20

(Williams 2010:171-172)

21

Figure 6

Gabby (G): What you don’t know about women

Oolie (O): What you don’t know about women

Both (B): Could fill a shelf of books.

G: You are the type of man who looks

For understanding lovers

O: But never understands the girl

Who lies beneath the covers.

B: You only have to open up your mouth to show

G: What you don’t know

O: And you don’t know

B: About women

A woman need to be assured that she remains alluring

To now and then be reassured your passion is enduring

G: It’s not enough to know your line

To polish and routine it.

O: And heaven knows I know your line

The whole routine, I’ve seen it.

B: You gotta mean it.

G: What you don’t know about women

O: What you don’t know about women

B: Is what we need to hear.

G: You think if you can sound sincere

Then we’ll come running to you

O: Throw in some truth for atmosphere

But we can see right through you.

B: And every hollow compliment and phrase defines

G: And underlines

B: What you don’t know about women

You think what I don’t know will not hurt me

But you don’t know how often you do

How long ago did good sense desert me

I don’t know why I still burn for you.

G: You’re immature and short sighted

O: You’re an incurable player

G: You show a lack of discretion

O: You don’t know jack about heart ache

G: You’re out of sync with your feelings

O: You only wink at commitment

G: You’re running low on emotion

B: What you don’t know about women

Is only a drop in the ocean

Next to what you don’t know about me.

You are need of a little enlightening on ladies and love but you can’t see

What you don’t know about women is frightening and

you don’t know nothing about me.

22

Figure 7

Careful the things you say

Children will listen

Careful the things you do

Children will see

And learn

Children may not obey

But children will listen

Children will look to you

For which way to turn

To learn what to be

Careful before you say listen to me.

Children will listen

Careful the wish you make

Wishes are children

Careful the path they take

Wishes come true

Not free

Careful the spell you cast

Not just on children

Sometime the spell may last

Past what you can see

And turn against you

Careful the tale you tell that is the spell

Children will listen.