speech song

Full Albums with Speech Therapy Program Materials Drills for Sounds Song Set 3 – Talk It Rock It Exploring Language Through Song and Play – Alan Riva and Karin Howard Imitation Exploration Song Set 1 – Talk It Rock It Music in My Mouth – Growing Sound My House – Lisa Barnett Make a Sound Turn Around – Joe Rothstein - Pediatric Therapy Network PowerTunes: First Sentences for Speech Therapy – Turning Points Media Rock and Roll with a Language Goal Song Set 2 – Talk It Rock It Volume 4 - ”Wh” Questions – Tuned In To Learning Volume 7 - Emerging Speech & Oral Motor Skills – Tuned In To Learning

Full Albums with Lyrics (but not additional materials) Music Therapy Songs for Special Kids – Ahjay Stelino Singing Words: Songs for Language Development – Edufun Singing Sounds: Songs for Learning Early Speech Sounds – Edufun Songs at MY Speed – Margie LaBella

Song for Teaching Articulation — Oral Motor Speech Skills The Echo Song –Ahjay Stelino The Family Song –Ahjay Stelino Funny Faces – Tuned in to Learning: Emerging Speech & Oral Motor Skills The Hiking Song – Exploring Language Through Song and Play Kumbaya – Margie La Bella Licking Lollypops – Music in My Mouth: Songs for Speech & Language Skills Miss Lolly's House – Exploring Language Through Song and Play Monkey Monkey – Ahjay Stelino Open Your Mouth and Sing "Ah" – Margie La Bella Word Makin' Machine – Songs For Speech and Language Skills

Song that Encourages Oral Sound Initiation and Voice Down On the Farm – Songs For Speech and Language Skills I Bought Me A Bird – Margie La Bella My World of Sounds – Dr. Thomas Moore Sound Syllable Songs – Margie La Bella Sounds All Around – Tuned in to Learning: Emerging Speech & Oral Motor Skills Use the Right Voice – Exploring Language Through Song and Play The Wheels in the Band – Margie La Bella

Songs for Receptive Language and Expressive Language Concepts A Good Best Friend (Personal Pronouns) – Singing Words Emotion – Songs For Speech and Language Skills Hippo Hop – Exploring Language Through Song and Play Little Turtle – Exploring Language Through Song and Play Mixed Questions – Tuned in to Learning: "Wh" Questions Music in My Mouth – Songs For Speech and Language Skills Question Time – Exploring Language Through Song and Play Tap It On Your Head – Margie La Bella Tom Has a Garden – C. Bollinger, N. Schoeb, A. MacCleery What Do You See In The Picture - Fall – C. Bollinger, N. Schoeb, A. MacCleery What Do You See In The Picture - Spring – C. Bollinger, N. Schoeb, A. MacCleery What Do You See In The Picture - Winter – C. Bollinger, N. Schoeb, A. MacCleery The "What" Song – Singing Words The "When" Song – Singing Words The "Who" Song – Singing Words Songs for Children with Apraxia Let's Go To... – Turning Points Media I Need Help – Turning Points Media My House – Lisa Barnett

Songs for Students Using Augmentative Communication (Voice Output Devices) The Echo Blues – Tuned in to Learning: Skill Building for Students with      Multiple Disabilities

Songs for Phonological Awareness and Production of Discrete Speech Sounds Bobby Baker's Band – Singing Sounds Boogaloo – Margie La Bella Broccoli Bread – "R" in the Car Dan, Dan Invisible Man (c-v combos) – Margie La Bella Don't You Dare – Singing Sounds The Digraph Song – C. Bollinger, N. Schoeb, A. MacCleer Fee Fi Fo Fum – Singing Sounds Froggy Went a'Courtin' (Slow Version) – Margie La Bella Hey, Mister Monkey! – Margie La Bella I Want to Sit – Singing Sounds The Leeway Train – Margie La Bella Leo the Lazy Lion – Singing Sounds Licking Lollipops – Songs For Speech and Language Skills Sing an Echo Song – Margie La Bella The Three-Syllable Song – Exploring Language Through Song and Play Tiny Tim – Singing Sounds Too Many Animals – "R" in the Car The Vehicle Song – Margie La Bella

Social Language Skills Eye to Eye – Exploring Language Through Song and Play Hands – Songs For Speech and Language Skills How Am I Feeling? – Exploring Language Through Song and Play I've Got Two – Songs For Speech and Language Skills Self-Control – Songs For Speech and Language Skills Taking Turns – Exploring Language Through Song and Play

Songs for Building Vocabulary, Grammar and Speech Fluency Big Trucks – Exploring Language Through Song and Play Hello Neighbor, I'm a Farmer – Songs For Speech and Language Skills Picnic – Exploring Language Through Song and Play Turtle Talk/Bouncing Bunny – Songs For Speech and Language Skills

See also: Phonological Awareness Songs for Children and Songs for Special Needs

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7 Musical Hits to Get You Teaching Reported Speech Through Song

Mama said, there’ll be days like this.

There’ll be days like this, mama said.

As you can see from the above example, reported speech is used to summarize or convey what was said in the past.

An important part of conversational English, reported speech can be difficult for some students to learn if they don’t already have a grasp on verb tenses.

But with the help of reported speech songs, you can teach your students how to use reported speech while rocking out to some of their favorite music .

Songs to Practice Reported Speech

• 1. “She Has No Time” by Keane

2. “Norwegian Wood” by The Beatles

3. “what goes around… comes around” by justin timberlake, 4. “apologize” by timbaland featuring onerepublic, 5. “can’t help falling in love” by elvis presley, 6. “somebody that i used to know” by gotye, 7. “photograph” by nickelback, direct speech vs. reported speech, activities to teach your students reported speech, listen and fill in the blanks, change reported speech into direct speech, change direct speech to the correct version of reported speech.

Download: This blog post is available as a convenient and portable PDF that you can take anywhere. Click here to get a copy. (Download)

1.  “She Has No Time” by Keane

This song is useful because of its simple and uncomplicated lyrics. Also, there are a few nice idiomatic phrases in the song, like “goes her own way.”

The use of reported speech in this song is a little atypical. Instead of being in the past tense, it’s in present simple and “that” is omitted from the phrases. Still, the song is great for showing students that there are always exceptions to grammar rules.

Reported speech:

She says she has no time for you now;

She says she has no time

This song is chock-full of examples of reported speech. It’s also fairly short and easy to understand.

“Norwegian Wood” provides an example of direct speech ( We talked until two and then she said, “it’s time for bed” ), which is a nice contrast to the instances of reported speech. The song includes important words, like  asked, told and said.

She asked me to stay; 

And she told me to sit anywhere. 

She told me she worked in the morning…

I told her I didn’t.

A typical, angst-filled love song which most students will probably be able to relate to on some level.

“What Goes Around… Comes Around” is a song with many examples of direct speech. As a result, this will make your students work extra hard to identify the true examples of reported speech.

You said that you were moving on now;

And maybe I should do the same.

“Apologize” has some great examples of reported speech, as well as some  nice metaphors , like: “I’m holding on a rope; got me ten feet off the ground.”  You can use this song to dive deeper into metaphors and similes with your more advanced students.

As with many of the songs on this list, “Apologize” has a lot of repetition in the lyrics and chorus. This gives your students several chances to pick up on the reported speech.

You tell me that you need me; 

Then you go and cut me down;

You tell me that you’re sorry; 

Didn’t think I’d turn around 

That it’s too late to apologize; 

It’s too late.

I said it’s too late to apologize. 

This song only has one example of reported speech, but it’s a short and very sweet tune.

This song also provides some nice examples of direct speech, like when the singer asks the listener,  “Shall I stay? Would it be a sin, if I can’t help falling in love with you?”

Reported speech: 

Wise men say; 

Only fools rush in.

Gotye uses a lot of reported speech in his hit song, “Somebody That I Used to Know.”

The lyrics may be a little advanced for beginners, as they tell a rather elaborate and involved story, but your students may enjoy the challenge. I recommend playing the song several times for them, so they can catch all the instances of reported speech.

Like when you said you felt so happy you could die; 

Told myself that you were right for me…

Well, you said that we would still be friends…

You said that you could let it go; 

And I wouldn’t catch you hung up on somebody that you used to know.

Again, this song tells a fairly detailed story by relating to the memories of the singer’s childhood.

In a way, the whole song is an example of direct speech to the listener. However, there are some useful examples of reported speech sprinkled throughout the lyrics, too.

The cops hated us hangin’ out; 

They say somebody went and burned it down. 

We said someday we’d find out how it feels; 

To sing to more than just the steering wheel. 

It’s important to remind your students that English has direct speech and reported speech, also known as “indirect speech.”

Explain to your students that direct speech is often indicated with quotation marks.

Direct speech example:   The teacher said,  “You must learn proper grammar.”

Reported speech, in contrast, is typically used for describing things people said in the past. Words such as tell, say  and  ask are used to report what was said to the listener.

Reported speech example:   The teacher said  that   we  must learn proper grammar. 

In reported speech, the personal pronouns often change and you typically add “that”  after the verb.

Maximize the learning experience by carefully considering what songs you’ll be using, then adjust the activities accordingly. For example, if your class is lower-level students, you may want to pick a song with simple, easy-to-understand lyrics to make these activities more accessible.

Below are some exciting activities using music to teach reported speech.

This activity is great for warming up your class.

Pick a song that includes reported speech, then create a worksheet using the lyrics from that song by removing all uses of reported speech from the lyrics and replacing them with blanks.

For example, the song “Norwegian Wood” by The Beatles would look like this:

_______ to stay; 

And ______ to sit anywhere. 

_____ she worked in the morning…

_____ I didn’t.

Before beginning the activity, spend some time in class going over the general rules of reported speech with your students. When ready, pass out the worksheet to the class and give them a moment to read over the lyrics.

Tell the class that you’re going to play the song one time as a warm-up and that they shouldn’t write on the worksheet yet. Instead, they should carefully listen to the song and make note of any words they don’t understand. Once the song has finished, go over any new words and expressions with the class.

The second time, play the song again and have your students listen while completing their worksheets. Once the music has finished, let your students share their findings. Make any corrections needed.

You can pair this activity with a session on FluentU , where students can watch music videos (and other authentic English videos like movie trailers, news segments and inspirational talks). Once students have heard the chosen song a few times, you can ask them to watch it in the FluentU program, where they’ll be able to check the meaning of any word by clicking on it in the subtitles.

Students can also compare their attempts to fill out the reported speech lyrics with the transcript that accompanies every FluentU video. While they watch, they can add unfamiliar words to their flashcard decks directly from the video player. For homework, they can study these flashcards with practice exercises that adapt to every individual student’s learning speed.

This is a good activity for testing student’s recognition of reported speech, as well as highlighting the differences between reported and direct speech.

Pick a song to play for the class, instructing them to identify and write down all of the examples of reported speech they hear in the song. At the end of the song, ask students to share their results. Make sure they correctly identify all samples of reported speech from the song, and write the answers on the whiteboard so everyone can check their answers and correct their mistakes.

Once finished, have your students work individually or in pairs to change reported phrases into direct speech. Don’t forget to save time at the end of class for students to share their results and make any necessary corrections.

This activity will require a little bit of prep time before class.

First, decide on the songs you’ll use for the lesson. Then, convert the speech in each song into direct speech and create a worksheet listing all of the direct speech conversions.

Determine whether you want students to work in pairs or as individuals, then hand out the worksheets. Instruct the class to change the direct speech back to reported speech while listening to the song.

Begin by playing the song (or songs) for your class. I recommend playing it more than once so they can hear the reported speech in the song. At the end of each song, have the students rewrite their sentences—be sure to give them ample time to complete the exercise. After finishing, go over the results in class, correcting any mistakes you come across.

Another option is to have the students complete the worksheet before listening to the songs. Once they’ve finished writing, play the songs so they can check their answers. The benefit of performing the activity this way is that it gives your students extra listening practice as they’re checking their answers.

As you can see, music is a great tool for teaching English! These are just some of the many songs that make use of reported speech, too.

Add these popular tunes to your next lesson on reported speech, or find some other songs to use in the classroom . Your students will surely remember learning more about reported speech through music!

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British Council

Use pop songs to learn connected speech and sound more fluent in english, by colm boyd, 03 january 2018 - 14:30.

Rahu licensed under CC0 1.0 Universal and adapted from the original . 

Colm Boyd, a materials writer and British Council teacher in Barcelona shows how attention to connected speech in pop music can help improve fluency in spoken English.

What is connected speech?

When people are learning English, they often pronounce words as they appear in print:

Where do you live? → /wɛr/ /du/ /ju/ /lɪv/

An English speaker who is very fluent will pronounce the sentence differently. This is mainly because of connected speech:

Where do you live? → /wɛrʤə’lɪv/

Both forms are valid. When it comes to pronunciation, the most important thing is to be clear rather than to sound like a native speaker. It is also understandable that many learners want to sound as natural as possible when speaking. Connected speech is an effective way to do this, and pop music is a great resource for practice.

What does connected speech have to do with pop music?

Pop songs are a fun way to improve your connected speech. Because they are repetitive, songs provide a great opportunity to notice links between words. They also give you the chance to practice connected speech as you sing along.

Here are five features of connected speech with pop songs to illustrate each point.

Elision – disappearing sounds 

Here are some examples. The strong syllable, or the syllable with emphasis, is the one after the apostrophe.

When does it happen?

When the end of one word has a similar consonant sound to the next word, fluent speakers of English usually do not pronounce the first consonant. The two consonants might be the same, as in example A above. Other times, the two consonant sounds are similar, as in example B.

Pop songs where you can hear elision

Beyoncé’s 2008 song Single Ladies is dedicated to the benefits of not having a partner. She sings her advice to 'all the single ladies '.

singe' ladies → /sɪŋgəˈleɪdiz/

Katy Perry’s 2017 song Chained To The Rhythm is about being trapped in the routine of modern life, where 'we’re all chained to the rhythm'.

'chainto → /ˈʧeɪntə/

Catenation – linking consonant sounds to vowel sounds

Some examples:

When one word ends with a consonant sound and the next word begins with a vowel sound, the two words merge together with the consonant sound flowing directly into the vowel sound. You can notice this with phrasal verbs, as in example B.

Pop songs where you can hear catenation

In the 2017 song Shape Of You, Ed Sheeran sings about being in love with his girlfriend’s shapely figure as he tells her 'I’m in love with the shape of you'.

shapof →  /ˈʃeɪpəv/

Little Mix’s 2016 hit Shout Out To My Ex is a song in which a woman ironically thanks her ex-boyfriend (a ' shout out to my ex') who treated her badly but allowed her to learn some important life lessons.

shou‘dout → /ʃaʊˈdaʊt/

Note that in connected speech, the letter 't' often converts to a soft 'd' sound when it appears between vowels.

Intrusion – inserting sounds 

When one word ends with a vowel sound and the next word begins with a vowel sound, fluent speakers often insert a mild consonant sound to make the sentence flow more easily.

How do you know which consonant sound to insert?

The consonant sound is a natural continuation of the preceding vowel sound. After a word ending with the sounds /oʊ/ or /uː/, we often insert a /w/ sound (see example A). After a word ending in /aɪ/, /iː/, or /ɛ/, we often insert a /j/ sound (see example B).

Pop songs where you can hear intrusion

Take Me Out was a 2004 hit for Franz Ferdinand, in which the singer meets a stranger at a party and wants them to go on a date. He asks the other person to 'take me out '.

me’yout → /miːˈjaʊt/

You may remember Michael Jackson’s 1995 song You Are Not Alone about losing a loved one but still feeling their presence. They are telling you that ' You are not alone, I am here with you'.

‘ youwə → /ˈjuːwə/

Assimilation – consonant combinations that change the sound of the word

Due to connected speech, many words that start with the letter 'y' (or simply with a /j/ sound) can cause confusion for English learners. This is because the initial sound of the word often combines with the final consonant sound of the previous word, creating an entirely new consonant sound.

As in the examples above, the resulting new sound depends on the combination:

d + y = 'hard' j

'hard' s + y = 'soft' j

Pop songs where you can hear assimilation

In her 2001 song Can’t Get You Out of My Head, Kylie Minogue sings about thinking continuously about someone, telling them that 'I just can’t get you out of my head'.

‘ gechou out → /ˈgɛʧuː/

In the 1980 song Could You Be Loved?, Bob Marley wonders if people can learn to love freely and allow themselves to be loved by others. He asks ' Could you be loved and be loved?'.

‘coujou → /ˈkʊʤuː/

The schwa – small words that are barely pronounced 

The schwa plays a huge role in connected speech. It is a very short vowel sound, somewhere between an 'a' and an 'e'.

In individual words, we find it in syllables that don’t contain the stress. For example, in the word 'amazing' the emphasis is on the second syllable. So, in the first syllable the letter 'a' becomes very small:

əˈmazing   → /əˈmeɪzɪŋ/

In connected speech, the schwa becomes the unique vowel sound of many smaller words. These words might be prepositions (from, to, of), auxiliary verbs (have, are) or pronouns (it, us). These smaller words don’t contain a lot of information and so in connected speech, they are difficult to hear.

Pop songs where you can hear the schwa

In 1987, Roxette released the song It Must Have Been Love. In it, the singer remembers life with her ex and now decides that their relationship ' must have been love'.

mustə’been → /mʌstəˈbɪn/

Set Fire To The Rain was a huge song for Adele in 2011. She sings about the contradictions of a past relationship, saying that when she was with her ex, she 'set fire to the rain , watched it pour …'.

təthə’rain → /təðəˈreɪn/

The next time you turn on the radio, keep your ear sharply tuned to the way the words are connected to each other. Soon you may be conversing faster than Eminem, chatting up a storm like Adele, or even preparing for a pitch-perfect Mariah rendition.

You can find more teaching resources from Colm Boyd at Picnic English and One Stop English .

Find out more about our offer in Spain and access our free resources for English language teachers , including professional development opportunities and sample lesson plans.

You might also be interested in

• Three ways to help English language learners 'notice' grammar
• Six low-preparation vocabulary activities for the English classroom
• How to engage an audience when you are on camera

View the discussion thread.

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Make Music With

Epic synthetic singing and rapping vocals for creative agencies, musicians, and coders.

Sample Songs

The grimes ai challenge.

Producers from around the world competed in Uberduck's $10,000 music production challenge using Grimes's AI voice and Uberduck's voice conversion technology.

Concept of Creation

Feed You Monster

Born to Destroy

Burning In The Shadows

Speech & Language Activities

Interactive Songs for Speech Therapy + Free Printable

Using interactive songs in speech therapy with little ones (early intervention/preschool age) is a fun way to work on language development . And trust me, the kids won’t care if you are a terrible singer (I know from experience – bad singing runs in my family). Plus, you don’t need any fancy equipment or bulky toys to enjoy all the benefits of using music in your speech therapy sessions!

If you are working with pre-talkers or any client who would benefit from visuals, y ou can grab my free, printable 12 song choice cards here . Just print and laminate (or put in a mini photo book). Then, you can let your client choose which song he or she wants to hear!

(I also have a full set of 48 Song Choice Cards + Communication Boards in my Teacher’s Pay Teacher’s store.)

Interactive Songs for Speech Therapy:

This post contains affiliate links, which means we could receive a commission if you click a link and purchase something that we have recommended.

Ring Around the Rosy

This is a perfect song for working on first words ! Try singing the song while you hold hands and walk in a circle (It’s fine if there’s only the two of you) and of course fall down at the end.

Do this 2-3 times to familiarize your client with the game and song. Then, once the child knows what is coming and is looking forward to the falling down part, use an Expectant Pause before you say, “down” and fall. That will give him/her the chance to say “down” so that s/he can get to the fun part! (You can also have the client use sign language or other AAC if that is more appropriate.)

The Hokey Pokey

The Hokey Pokey is great for combining gross motor movement (i.e. Getting the wiggles out!) and for learning body parts . You can keep it as a receptive task by having the student put the correct body part “in” (with or without a model) or you can have the student tell you which body part to do next if you want to make it into an expressive task .

Hokey Pokey Lyrics:

You put your arm in, You put your arm out, You put your arm in, And you shake it all about,

You do the hokey pokey and you turn yourself around That what it’s all about. (Say while clapping)

Other verses:

• foot or leg
• whole self/body

The Wheels on the Bus for Speech Therapy

Love Love Love this one!

For clients working on imitation skills , you can work on imitating the actions that go along with each verse .

You can also use the expectant pause to have the student fill in a sound or action word such as “beep” or “up and down.”

When that is mastered , you can make it more challenging by asking your student what should be next . And some kids can get really creative by making up new things that can happen on the bus! This is great for creativity and flexible thinking – as well as working on describing skills!

If You’re Happy and You Know It

I like to use the version by Super Simple Songs (in the video below for reference). I learned the lyrics from the video but I like to sing it to promote more interaction between the therapist and the client.

This song teaches emotions and beginner gross body movements through actions.

To incorporate emotions , you can make an exaggerated happy/mad/scared/sleepy face for your client to copy. After the song, you can talk about different things or times that make you feel each of those emotions.

For younger students, focusing on following directions or imitation skills with the movements clap, stomp, and arms-up might be more appropriate.

Head, Shoulders, Knees, and Toes

This is another song that’s perfect for learning body parts and imitation . I suggest slowing it way, way down as you sing until your client is successful, and then slowly speeding it up until it ends in a silly mess of pointing! It’s sure to get the wiggles and the giggles out!

Twinkle Twinkle Little Star

This sweet, classic song is nice for working on imitation of gestures . See the video below if you want to learn the gestures.

You can also use the expectant pause with this one too once your client is familiar with the lyrics. Pause a the end of a phrase such as

Twinkle, Twinkle little . . . .(star)

How I wonder what you . . . (are)

Up above the world so . . . .(high)

Like a diamond in the . . . (sky)

RELATED READ: Using Visuals to Teach WH Questions

The Itsy Bitsy Spider: Music for Speech Therapy

Another slower song to get your student imitating your gestures – and singing along!

Old MacDonald Had a Farm

This classic is one of my favorites! To start, you can work on animal sounds. Put in some pauses to see if your client can make the animal sound or copy the sound you make. As the child progresses, have him/her tell you which animal you should sing about next!

To include some visuals, you can try using animal toys or printed visuals to make choices or elicit language!

Row, Row, Row Your Boat

I like the version of this song that incorporates fun sounds – the more interactive the better! Once the student knows this one, it’s great to use with the expectant pause or to elicit sounds after each verse.

Here are the lyrics:

Row, row, row your boat Gently down the stream Merrily, merrily, merrily, merrily Life is but a dream

Row, row, row your boat Gently up the creek If you see a little mouse Don’t forget to squeak!

Row, row, row your boat Gently down the stream If you see an alligator Don’t forget to scream!

Row, row, row your boat Gently to the shore If you see a lion Don’t forget to roar!

Row, row, row your boat Gently to the beach If you see a monkey Don’t forget to screech!

Interactive Songs Printables

Here’s the link to the FREE set of 12 song choice cards or the full set of 48 Song Choice Cards + Communication Boards in my Teachers Pay Teachers store! Hope this gave you some fun ideas for using music in speech therapy!

Spring Speech Therapy Activities + Free Printable!

AI Music Generator

• Neuroscience

The Speech-to-Song Illusion

Crossing the borderline between speech and song..

Posted February 26, 2020 | Reviewed by Lybi Ma

In general, it would appear obvious that speech and song are distinct and separate forms of communication: We hear speech when people are speaking, and song when they are singing. I was awestruck by an incident that occurred when I was putting the finishing touches on my CD Musical Illusions and Paradoxes . The first track on the CD consists of spoken commentary, and to detect flaws in my recorded speech, I looped phrases so that I could hear them several times over. The commentary includes the sentence:

‘ The sounds as they appear to you are not only different from those that are really present, but they sometimes behave so strangely as to seem quite impossible.’

I had one of these phrases—sometimes behave so strangely—on a loop, and began working on something else. Suddenly it seemed to me that an unknown woman had entered the room, and was singing! I looked around, and finding that I was still alone, realized that I was hearing my own voice repeatedly producing this phrase—but now, instead of speech, it appeared that a sung melody was spilling out of the loudspeaker! In other words, the phrase had morphed perceptually from speech to song through the simple process of repetition.

I named this the ‘ Speech-to-Song Illusion ’, and it is indeed bizarre. It occurs without altering the sound in any way, and without any context provided by other sounds, but simply as a result of repeating the phrase several times over.

Here is the full sentence followed by the repeating phrase :

Here is the phrase in musical notation as most people hear it as song.

As a further surprise, when you listen to the full sentence again, it begins by sounding like speech (as indeed it is), but when you come to the phrase that had been repeated— sometimes behave so strangely — it suddenly appears to burst into song :

And once you’ve heard this phrase as song, you continue to hear it as song even after months, or even years, have elapsed. The speech-to-song illusion provides an example of very rapid and yet very long-lasting neural plasticity .

This transformation doesn’t only occur in adults with musical training. Walt Boyer, a music teacher at Atwater School in Shorewood, Wisconsin, played the Speech-to-Song Illusion to his class of fifth graders without first telling them what they might hear. As shown in his video, he began with the full sentence, and then played the spoken phrase 10 times over. As the children listened to the repetitions they became intrigued; so Boyer said ‘Try it, go ahead!’, whereupon they sang along with the phrase, first tentatively and then with gusto, and in tune. You can view the video here .

This curious illusion has no obvious explanation in terms of current scientific thinking about the relationship between speech and song. The two forms of communication in general differ in their physical characteristics: Speech consists largely of pitch glides that are often steep, and of rapid changes in loudness and sound quality. Song, in contrast, consists largely of well-defined musical notes, and so of more stable pitches, and these form melodies and rhythms. Given the differences in their physical features, neuroscientists have assumed that speech and song are subserved by entirely independent neural pathways, or modules, that the sounds of speech are processed in a module that excludes from analysis other sounds such as music.

And that the sounds of music are subserved by a different module that excludes from analysis other sounds such as speech. This view can’t explain the speech-to-song illusion, since here a phrase is perceptually transformed without changing its features in any way.

The argument that speech and song should be regarded as distinct and separate runs contrary to the many types of vocalization that stand at the boundary between these two forms of communication; these include incantations, religious chants, opera recitative, whistle languages, and rap or hip-hop music. Indeed, philosophers and musicians have argued for centuries that strong linkages must exist between speech and music.

The 19th-century British philosopher Herbert Spencer proposed that a continuum extends from conversational speech at one end, and song in the other, with emotional and heavily intoned speech in between. He wrote:

"What we regard as the distinctive traits of song, are simply the traits of emotional speech intensified and systematized. In respect of its general characteristics, we think it has been made clear that vocal music, and by consequence all music, is an idealization of the natural language of passion…vocal music originally diverged from emotional speech in a gradual, unobtrusive manner."

Composers have also argued that expressivity in music is derived from inflections in speech, and have incorporated into their compositions characteristics of emotional expression in spoken utterances. The 19th-century Russian composer Modest Mussorgsky felt strongly that song was heavily intoned speech, and in his music he drew on overheard conversations, so employing the musical intervals, timing, and loudness variations that occur in natural speech.

Mussorgsky expressed this view forcibly in a letter to his friend Nikolai Rimsky-Korsokoff:

"Whatever speech I hear, no matter who is speaking . . . my brain immediately sets to working out a musical exposition for this speech."

How can we explain the illusion? An important difference between music and conversational speech is that repetition is a powerful feature of music; however, in normal conversation, a spoken phrase that’s repeated several times in succession sounds incongruous. Put another way, when we recall a conversation, we don’t usually remember the precise words we heard, but we instead remember the gist, or general meaning of what was said. But when we remember a piece of music, we don’t summarize it, rather the sounds and sound patterns stand for themselves. It’s understandable that music should contain a substantial amount of repetition, but that this is lacking in conversational speech.

In the Illusion, repetition is providing a cue that the phrase being heard might be music rather than speech. But why does my spoken phrase ‘sometimes behave so strangely’, as recorded on my CDs, morph so convincingly? My favorite explanation: The basic pitch pattern forming this phrase is very close to that of a phrase in the famous Westminster chimes. Further, the rhythm of the phrase is identical to that in the well-known Christmas song ‘Rudolph, the Reed-Nosed Reindeer’. We must have recorded in our brains a database of well-remembered pitch patterns, and another database of well-remembered rhythms, and we recognize songs by accessing these databases. So we can suppose that the brain circuitry underlying memory for melodies recognizes the Westminster chimes, and that the brain circuitry that underlies memory for rhythms recognizes Rudolph, the Red-Nosed Reindeer. So when these two memories are combined with the cue provided by repetition, our perceptual system concludes that song is being produced rather than speech – and so invokes the brain mechanisms that are responsible for analyzing this pattern as song. Of course, other factors must also be involved, but accessing long term memories for music is likely to be part of the picture.

Deutsch, Diana (2019). Musical Illusions and Phantom Words: How Music and Speech Unlock Mysteries of the Brain. New York, N.Y: Oxford University Press.

Deutsch, D., Henthorn, T., and Lapidis, R. Illusory transformation from speech to song . Journal of the Acoustical Society of America, 2011, 129, 2245-2252 .

Deutsch, Diana (2003). Phantom Words, and Other Curiosities (CD) La Jolla: Philomel Records.

Diana Deutsch is professor of psychology at the University of California at San Diego.

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Voicemod AI Text To Song Generator v1.0

Your Meme Song Machine

Songify any text with AI. Works on any device, easily shareable with anyone. You can use our free AI singing voice generator to create amazing songs and send them to your friends and colleagues.

Create from any device. Share with anyone.

Voicemod's Text to Speech is an entirely online AI song generator. This means you can easily create free text to song music online directly from your mobile or desktop browser. After creating your song, you can then share your creation with anyone and anywhere. Welcome to the best AI song generator!

New songs added!

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Stay With Me

Move Your Body

Break is Over

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With Voicemod Text to Song, text messages are a thing of the past. Send funny happy birthday song to your friends. Share your AI generated songs with your loved ones in seconds through communication platforms like WhatsApp, Messenger or social networks like TikTok, Instagram or YouTube Shorts.

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Break Is Over

by @Cecilia

7 Singers, 8 Songs, Infinite Fun.

Choose among seven different AI singers and many different instrumentals (and more on the way!) from different genres like Pop, Trap, Hip Hop, Classica and more. For each song, the singers whose voices best fit the track are highlighted as ‘Best Match,’ but we encourage you to experiment! Then, just type in your lyrics, hit generate and you’re ready to share! Way to meme-fy any text through music!

Tenor voice with a ringing presence

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20 Very Best Songs With Figurative Language Ever Recorded

When you think about figurative language, you may think of poetry or classic novels. You probably don’t think about popular songs from the last several decades. However, many songs on the radio today and in the recent past are full of wonderful examples of figurative language.

What is Figurative Language?

Figurative language is a way of using words or expressions in a non-literal sense to convey a particular meaning or image. It is a form of language that is used to create an evocative, imaginative, or emotional impact on the reader or listener.

Figurative language is often used in literature, poetry, and music to enhance the artistic and creative aspects of the work. It can also be used in everyday speech to make language more interesting and engaging.

Some common types of figurative language include:

• Metaphors: A figure of speech that describes one thing in terms of another, suggesting a resemblance or a connection between them. Example: “Life is a journey.”
• Similes: A figure of speech that compares two things using “like” or “as”. Example: “Her eyes were as blue as the ocean.”
• Personification: A figure of speech in which a non-human thing is given human-like qualities or characteristics. Example: “The wind whispered through the trees.”
• Hyperbole: A figure of speech that uses exaggeration to emphasize a point or make a statement more dramatic. Example: “I’ve told you a million times.”
• Irony: A figure of speech in which the opposite of what is expected or intended happens. Example: “It’s like rain on your wedding day.”
• Onomatopoeia: A figure of speech that imitates the sound of the thing being described. Example: “The clock tick-tocked loudly in the silent room.”

These devices can help to create vivid images, convey complex ideas, and evoke an emotional response from the audience.

Our Top Picks: Songs with Figurative Language

21. “fireflies” – owl city.

The song “Fireflies” by Owl City lit up the airwaves in 2009. The song was originally inspired by watching shooting stars during a bout of insomnia during a camping trip. The song feels like lucid dreaming when it’s difficult to separate reality from fantasy, or could work as a metaphor for moving from the innocence of childhood to adulthood. In any case, the song is full of imaginative and creative lyrics that use figurative language to evoke a dreamy and nostalgic feeling.

Personification: The lyrics “Cause I get a thousand hugs / From ten thousand lightning bugs / As they tried to teach me how to dance” personifies lightning bugs attempting to hug and teach the singer how to dance is a whimsical and imaginative concept.

Metaphor: “I’d like to make myself believe that planet Earth turns slowly” creates a feeling of childhood nostalgia when time seemed slower and looser.

Paradox: The chorus has the line “It’s hard to say that I’d rather stay awake when I’m asleep” which presents the paradox between sleeping and being awake.

20. “Hungry Like the Wolf” – Duran Duran

Duran Duran’s 80s hit “Hungry Like the Wolf” is an extended metaphor, comparing a man’s pursuit of a beautiful woman with a wolf on the hunt for its prey. While the premise might seem a bit dated from a modern dating perspective, almost every line lends itself to this metaphor. Additionally, the song’s iconic title is a simile, a type of metaphor that uses the words “like” or “as.”

“I’m on the hunt I’m after you. Mouth is alive with juices like wine. And I’m hungry like the wolf.”

There are two similes in the lines above, comparing saliva to wine and romantic desire to a wolf’s hunger.

19. “A Thousand Miles” – Vanessa Carlton

Vanessa Carlton’s hit song “A Thousand Miles,” tells the story of a young woman making her way back home , but remembering that her loved one is no longer there. She sings the line:

“Cause you know I’d walk a thousand miles If I could just see you tonight.”

This lyric is a use of hyperbole. She obviously cannot walk a thousand miles, but she is expressing how much she misses her ex.

18. “God’s Plan” – Drake

“God’s Plan” is a popular hip-hop that uses figurative language to tell a story of taking the road to fame and wealth while navigating through enemy territory. One line that exemplifies the figurative nature of this song is when Drake states that, “he might go down as G.O.D”.

This metaphor eludes to all the accomplishments and achievements Drake has acquired, which perhaps makes him immortal in the eyes of his fans. If the beat and tune of this song does not catch your attention, the deeper meaning definitely will.

17. “What a Wonderful World” by Louis Armstrong

Louis Armstrong’s “What a Wonderful World” is one of the most iconic jazz songs of the past century. The song encourages listeners to see the beauty in everything around them. It’s a masterclass in using imagery to create the mood of the song.

Imagery: The song is primarily based on observations, using a combination of imagery and metaphor to demonstrate the wonder of the world.

“I see trees of green, red roses too / I see them bloom, for me and you”: imagery describes the colors and beauty of nature.

“I see skies of blue and clouds of white / The bright blessed day, the dark sacred night”: the lyrics paint a picture of the sky and the contrast between day and night.

“I hear babies cry, I watch them grow / They’ll learn much more than I’ll never know”: imagery that helps us appreciate the endless possibilities of life itself.

“I see friends shaking hands, sayin’, ‘How do you do?’ / They’re really sayin’, ‘I love you'”: a beautiful image of basic human interactions and the love behind them.

Throughout the song, Armstrong employs imagery to paint a picture of a world filled with beauty and wonder. The song’s message of appreciation for the simple things in life and the beauty of the natural world is one that continues to resonate with listeners today, making it a timeless classic.

18. “All Along the Watchtower” by Bob Dylan

“All Along the Watchtower” is a song written by Bob Dylan and made famous by Jimi Hendrix in his 1968 cover version. The surreal song tells the story of a joker and a thief, some say it’s a criticism of the Vietnam War, while others that it’s about the more universal human experience and search for meaning.

Symbolism: The opening of the song drops us directly into a conversation “‘There must be some kind of way out of here,’ Said the joker to the thief.” The joker and the thief are both timeless archetypes who are seen as outsiders to the established order.

Imagery: Dylan uses imagery masterfully with the line “All along the watchtower, Princes kept the view.” This line uses the visual imagery of a watchtower to show that the established hierarchy is powerful, alert, and hostile to outsiders.

Metaphor: The line “Two riders were approaching” raises the suspense levels of the final verse and foreshadows a change to the established order. It also alludes to the dread and mystery of Yeat’s poem The Second Coming, which ends “And what rough beast, its hour come round at last,  Slouches towards Bethlehem to be born?”

Personification: The lyrics “And the wind began to howl” use the personification of the wind howling in response to the approaching danger posed by the two riders.

“All Along the Watchtower” is only 3 terse verses with no chorus but the controlled use of language adds drama and intrigue.

17. “Chandelier” by Sia

A pop anthem by the musical genius Sia, “Chandelier” embraces figurative language to explore the alcoholism and substance abuse that runs rampant during parties. The talented artist uses the perfect blend of her amazing voice and figurative language to convey her need to indulge in extreme behaviors.

Metaphor: “I’m gonna swing from the chandelier”, evokes the phrase “swinging from the chandelier” which is used to describe the activities of a wild party with people doing wild, silly things and having a good time.

Paradox: But instead of swinging by the chandelier to have a good time, we hear “But I’m holding on for dear life, won’t look down, won’t open my eyes.” The singer uses the image of holding on for dear life in the midst of a party to symbolize her desperation.

Hyperbole: With the line “Party girls don’t get hurt” the singer uses hyperbole to explain how young women in the party scene use drugs and alcohol to stay numb and suppress pain.

In this beautiful song, Sia uses figurative language to describe her battles with alcohol and substance abuse and the personal troubles she endured in her past. Although Sia touches on her personal troubles, it is a song that many people can still resonate with.

16. “Fireworks” by Katy Perry

This upbeat pop song is a must-have for this list. In addition to having an uplifting upbeat melody, this catchy song is all about self-empowerment and embracing your inner confidence.

Metaphor: In the chorus, Katy Perry sings, “Baby, you’re a firework.” This line compares a person to a firework, implying that they are bursting with energy, awe-inspiring, and capable of lighting up the world.

Simile: In the bridge, Perry sings, “Like a lightning bolt, your heart will glow.” This line uses a simile to compare the intensity felt in your heart to a lightning bolt, emphasizing its power.

Onomatopoeia: The refrain “Boom, boom, boom” uses onomatopoeia to create the sound of fireworks exploding in the listener’s mind.

Hyperbole: The line “You don’t have to feel like a wasted space” uses hyperbole to exaggerate the feeling of worthlessness. The idea of a wasted space is taken to the extreme, emphasizing the importance of feeling valuable.

Imagery: Throughout the song, Perry uses vivid imagery of fireworks to describe the feeling of empowerment and self-confidence. Lines like “ignite the light and let it shine” create a visual and auditory experience for the listener, emphasizing the powerful feeling of being alive.

15. “Happy” by Pharrell Williams

If you are looking for a song to lift your spirits, you may want to consider giving “Happy” a listen to. Listening to this upbeat song, you cannot help but feel happy.

The song is sung by talented artist Pharell Williams, who uses his unique voice to convey a wonderful message. Although some of the lines in this song are written in figurative language and metaphors, it is still fairly easy to comprehend.

Personification: The lyrics “here come bad news talking this and that” uses personification to describe bad news as a person, emphasizing its negative impact on our lives.

Simile: The chorus “Clap along if you feel like a room without a roof” uses a simile to compare the listener’s mood with the boundlessness of a room without a roof — a feeling of happiness so intense that it can make you feel like you’re floating above everything else.

Hyperbole: “I’m a hot air balloon that could go to space” uses hyperbole to show the singer’s sense of expansive possibility and boundless joy.

Metaphor: “Clap along if you feel like happiness is the truth” – This line uses metaphor to equate the feeling of happiness with a sense of truth and authenticity.

14. “The Boxer” by Simon and Garfunkel

The Boxer by Simon and Garfunkel is a lament sung in first person until the last chorus. It chronicles the singer’s struggles to overcome loneliness and poverty in New York City. While some have speculated it was written an attack on Bob Dylan, Simon said it was written during a time when he felt like he was being unfairly criticized.

Imagery: The line “In the clearing stands a boxer, and a fighter by his trade” uses the image of a boxer standing alone to the singer’s own isolation and strength.

Hyperbole : “I have squandered my resistance for a pocketful of mumbles, such are promises” indicates that the narrator has wasted his energy on empty promises and lies.

Repetition: While the lyrics “After changes upon changes, We are more or less the same; After changes we are more or less the same” was not included in the Bridge Over Troubled Water album, they’ve been included on subsequent recordings. It uses repetition to drive home the unchanging nature of individuals.

Metaphor: In the final verse, the line “he carries the reminders of every glove that laid him down or cut him till he cried out in his anger and his shame” the narrator’s personal struggles are compared to the physical blows that a boxer receives.

Allusion: While the song is not overtly religious, Simon indicated in an interview that the terms “workman’s wages” and “seeking out the poorer quarters” came from his readings of the Bible when he was writing the song and give the song a timeless flavor.

“The Boxer” uses a variety of figurative language techniques to explore themes of perseverance and regret. The song’s metaphors, hyperbole, imagery, and repetition create a vivid story of an individual struggling to find their place in the world.

13. “I’m Like a Bird” by Nelly Furtado

“I’m Like a Bird” is a song by Canadian singer Nelly Furtado, released in 2000. The song’s lyrics use figurative language to convey the singer’s desire for freedom.

Symbolism: The title “I’m Like a Bird” is symbolic, the phrase “free as a bird”has long been used to indicate that someone is completely free, without care or restraints.

Simile: The line “I’m like a bird, I’ll only fly away” uses a simile to compare the singer to a bird, emphasizing her desire for freedom and need to break free from the constraints of her current situation.

Hyperbole: The line “I’m so bored, I’m going blind” uses hyperbole to emphasize the singer’s sense of restlessness and ennui.

Imagery: The line “You’re beautiful, that’s for sure / You’ll never ever fade” uses imagery to emphasize the enduring quality of the person’s beauty.

Metaphor: The line “I don’t know where my soul is, I don’t know where my home is” uses a metaphor to contrast the desire for freedom with the singer’s sense of displacement and disorientation.

It has a joyful tune and a hopeful message that is truly uplifting. In the song, Nelly speaks of not knowing where she is going or where her home. Although the line is a bit melancholy, listeners are reassured she will get to her destination by taking flight.

12. “Boulevard of Broken Dreams” by Green Day

If you’re looking for a more rocking version of figurative speech in song, try “Boulevard of Broken Dreams” by Green Day released in 2004. As one of the classics, this song takes listeners on a journey through a boulevard of hopelessness and loneliness.

Metaphor: The memorable line “I walk a lonely road, the only one that I have ever known” uses metaphor to compare the narrator’s life to a lonely road, emphasizing the sense of isolation and disconnection that he feels.

Imagery: The line “I’m walking up the stairs that lead to nowhere” uses imagery to create a vivid picture of the narrator’s aimless wandering and sense of futility.

Personification: The line “The city sleeps, and I’m the only one, and I walk alone” uses personification of a city sleeping to emphasize the singer’s sense of alienation even amidst a city of other people.

Allusion: The line “I’m walking down the line that divides me somewhere in my mind” alludes to a mental struggle that the singer is going through, emphasizing the internal conflict that is adding to his sense of isolation.

If you are into rock music, this one may be right up your alley. In the song, Green Day describes the feeling of being alone in a world of broken dreams. Ironically, their use of figurative wordplay of feeling alone allowed them to connect with their legions of fans who have experienced similar feelings of isolation and disconnection. If you have yet to hear this rock anthem, give it a listen!

11. “Thunder” by Imagine Dragons

The song “Thunder” by Imagine Dragons tells the story of a young man who was always different from his peers. He uses that difference to ultimately find fame and success. It’s a song that celebrates the power of believing in yourself and uses figurative language to speak to the challenges people face in the pursuit of their goals.

Metaphor: The line “I was lightning before the thunder” uses a metaphor to describe the speaker’s rapid rise to fame, emphasizing the idea of striking with quick and powerful force.

Hyperbole: The line “I’m a world-changer, rearranger / Ain’t nobody fresher than my clique” uses hyperbole to exaggerate the speaker’s impact and influence, emphasizing the sense of confidence and pride.

Allusion: The line “We don’t deal with outsiders very well / They say newcomers have a certain smell” alludes to the idea of social exclusion and the sense of discomfort that can arise when encountering something new or unfamiliar.

Imagery: The line “The lightning and the thunder, they go and they come back” uses imagery to create a sense of dynamic energy and movement, evoking the power and beauty of natural forces.

The figurative language used in “Thunder” adds to the song’s motivating message, encouraging listeners to embrace their individuality and pursue their dreams. The song has become a popular anthem for empowerment and self-confidence, inspiring people around the world to “feel the thunder” and seize their opportunities.

10. “Rain on Me” by Lady Gaga and Ariana Grande

The lyrics of “Rain on Me” use a combination of figurative language devices to convey the idea of embracing one’s struggles and turning them into a source of strength. It contains several examples of figurative language:

Simile: “It’s coming down on me, water like misery” is a simile comparing the rain to hardships and discontent.

Metaphor: Extending the comparison of rain to misery with “I’d rather be dry, but at least I’m alive,” this line celebrates being alive, even if under less-than-ideal conditions.

Hyperbole: “At least I showed up, you showed me nothing at all” exaggerates the contrast between the speaker’s effort and the other person’s lack of effort.

9. “Hotel California” by The Eagles

“Hotel California” by The Eagles is a classic rock song that uses explores the hedonistic excesses of the 1970s. The different types of figurative language add to the dreamlike, surreal quality of the song, and help to create a memorable and haunting image of the Hotel California.

Metaphor: The hotel itself is used as a metaphor for addiction — evident in lines like “You can check out any time you like, but you can never leave” or “We are all just prisoners here of our own device.”

Allusion: The line “Her mind is Tiffany twisted” alludes to the famous jewelry brand Tiffany’s and is used to mean someone whose values have been warped by materialism and status.

Irony: The chorus of the song, which includes the lines “Welcome to the Hotel California, such a lovely place, such a lovely face,” is ironic and paradoxical, highlighting the difference between illusion and reality.

Imagery: Throughout the song, the lyrics are filled with vivid imagery, such as “shimmering light,” “mirrors on the ceiling,” and “pink champagne on ice.” These images help to create a surreal and decadant atmosphere.

The figurative language used in the song “Hotel California” adds depth and meaning to the song, creating a haunting and memorable experience for the listener.

8. “Love Story” by Taylor Swift

In “Love Story,” pop singer Taylor Swift delivers a loving portrayal of unrequited love. In her love story, Taylor describes forbidden love through the use of various types of figurative language.

Metaphor: The line “Our song is the slammin’ screen door, sneakin’ out late, tapping on your window” uses a simile to compare the couple’s love to a song, emphasizing its intense and spontaneous nature.

Allusion: The line “Cause you were Romeo, I was Juliet” alludes to Shakespeare’s famous tragic love story, emphasizing the intensity and passion of the speaker’s feelings.

Simile: In the line “Our love was like a fairy tale,” the simile compares the couple’s love to a fairy tale, emphasizing its epic, magical and idealized nature.

Hyperbole: The line “I’ll be waiting, all that’s left to do is run / You’ll be the prince and I’ll be the princess” uses hyperbole to exaggerate the sense of adventure and excitement in the couple’s love story.

Imagery: The line “We were both young when I first saw you / I close my eyes and the flashback starts” uses imagery to create a visual image of the speaker remembering the first time she saw her love interest, emphasizing the intensity and vividness of her memories.

Taylor Swift uses figurative language in “Love Story” to add drama and emotional intensity to the song. The song has become a pop classic and a fan favorite, showcasing her talent for crafting relatable and memorable lyrics.

7. “New York, New York” by Frank Sinatra

Frank Sinatra’s classic New York, New York is another must-have on the list of figuratively speaking songs. Throughout the song, Frank uses the metaphor of leaving “these small town blues” to be “king of the hill” in New York City as an anthem to ambition. There are several lines throughout the song with hyperboles and metaphors.

Metaphor: In the famous chorus line “If I can make it there, I’ll make it anywhere,” New York City represents the ultimate challenge to tests one’s skills and resilience.

Personification: The line “These vagabond shoes are longing to stray” uses the personification of “vagabond shoes” to represent the speaker’s restless spirit and desire for adventure.

Hyperbole: The line “I’m king of the hill, top of the heap” uses hyperbole to exaggerate the speaker’s desire for success and dominance in the city, emphasizing the sense of achievement and triumph.

Metaphor: The line “These little town blues, are melting away” uses a metaphor to explain how the speaker’s sadness and longing are overcome by the excitement and energy of the city.

Allusion: The line “I’ll make a brand new start of it, in old New York” alludes to the city’s history and legacy, suggesting that the speaker is starting anew in a place with a rich and vibrant past.

The diverse figurative language used in “New York, New York” creates a vivid picture of the city, emphasizing its energy, diversity, and iconic landmarks. The song has become a beloved anthem for New Yorkers and non-New Yorkers alike, capturing the essence of what makes the city so unforgettable.

6. “Let It Go” by Idinia Menzel

“Let It Go,” sung by Idina Menzel, is the feature song of Disney’s hit film, Frozen . The song appears at a pivotal moment when Elsa has run away after accidentally using her carefully kept secret ice powers in front of a crowd. She decides to “let it go” and be herself, magical powers and all. The song is an extended metaphor, relating Elsa’s complicated feelings about her abilities to an ice storm . While Elsa’s situation is unique, ultimately it’s a relatable song about the struggle for self-acceptance.

Metaphor: “My soul is spiraling in frozen fractals all around,” the simile compares the chaos of the speaker’s emotions to the complex and chaotic patterns of fractals.

Simile: In the line “The wind is howling like this swirling storm inside,” the metaphor of a “swirling storm inside” represents the speaker’s internal turmoil and emotions, creating a sense of chaos and confusion.

Hyperbole: The line “It’s time to see what I can do, to test the limits and break through” uses hyperbole to emphasize the speaker’s determination to explore and push herself beyond her perceived limits.

Imagery: The line “Let it go, let it go, and I’ll rise like the break of dawn” uses imagery to compare the speaker’s transformation and liberation to sunrise, emphasizing the idea of rising up and emerging into the light.

The enduring popularity of Let It Go proves the power of figurative language in songs. Overall, the song creates a sense of empowerment and transformation, emphasizing the idea that we can all find strength and freedom by letting go of our past and embracing our true selves.

5. “Sounds of Silence” by Simon and Garfunkel

The Sounds of Silence by Simon and Garfunkel is filled to the brim with metaphors and imagery that create a haunting and thought-provoking atmosphere. Already for the poetic and paradoxical title, it’s clear this will be a

Personification: From the opening lyrics, “Hello darkness, my old friend / I’ve come to talk with you again” darkness is personified as a friend to talk with and indicates the singer’s weary emotional state.

Metaphor : “Because a vision softly creeping, Left its seeds while I was sleeping, And the vision that was planted in my brain” combines the personification of the vision creeping along with a metaphor of new ideas being planted seeds in one’s mind.

Imagery: To create a dramatic contrast between the gray “cobblestones” and “cold and damp”, the narrator’s eyes are then “stabbed by the flash of a neon light”, That split the night” creating a vivid mental image.

Paradox: The song addresses the paradox of life in a modern city”People talking without speaking / People hearing without listening”

Simile: The penultimate verse includes the lines “But my words, like silent raindrops fell, And echoed in the wells of silence” which uses simile to equate his words to silent raindrops” and harkens back to

The song is a great example of how powerful language can be in creating a memorable and impactful piece of art.

4. “Halo” by Beyonce

This list of songs cannot be completed without adding a song from Queen B. In her song “Halo”, Beyonce uses figurative speech to describe her love as angelic. Throughout the song, she uses various types of figurative language to highlight the intensity and purity of romantic love.

Metaphor: In the line “Everywhere I’m looking now, I’m surrounded by your embrace,” the metaphor of being “surrounded by your embrace” suggests a sense of safety, security, and intimacy.

Personification: The line “You hit me like a ray of sun, burning through my darkest night” personifies the ray of sun, suggesting that it has the power to illuminate and bring warmth to the darkness.

Hyperbole: In the line “Baby, I can see your halo, you know you’re my saving grace,” the hyperbole exaggerates the intensity of the speaker’s love, emphasizing the idea that he is a kind of divine being.

Imagery: The line “I can feel your halo, pray it won’t fade away” uses imagery to suggest the fleeting and fragile nature of love, emphasizing the idea that even the strongest emotions can be fleeting.

“Halo” uses figurative language to create a sense of emotional intensity and intimacy. It remains a popular love song for the beautiful imagery exploring the power and complexity of romantic love.

3. “Hallelujah” by Leonard Cohen

Leonard Cohen’s beautiful song “Hallelujah” failed to get much recognition until Jeff Buckley covered it. It has gone on to become one of the most covered songs in music history. There is much speculation about the song’s meaning, but Cohen has only said that it is an attempt to find joy in the many messes of life. The song relates the Biblical story of David. It is an iconic example of using figurative language to explore themes of love, faith, and redemption.

Metaphor: The line “Love is not a victory march, it’s a cold and it’s a broken Hallelujah” suggests that love can be painful and imperfect, just like the broken parts of a song.

Irony: The use of the phrase “the holy or the broken Hallelujah” is ironic because the word “holy” is typically associated with perfection and purity, while “broken” suggests imperfection and flaws.

Hyperbole: In the line “I did my best, it wasn’t much, I couldn’t feel, so I tried to touch,” the hyperbole exaggerates the singer’s sense of failure and disconnection.

Allusion: The line “She tied you to a kitchen chair, she broke your throne and she cut your hair” alludes to the story of Samson and Delilah from the Bible, in which Delilah betrays Samson by cutting his hair, emphasizing the idea of betrayal and loss.

Imagery: “Your faith was strong but you needed proof/You saw her bathing on the roof/Her beauty and the moonlight overthrew ya” gives strong visual imagery and alludes to the biblical story of God testing King David when he sees Bathsheba bathing.

The various forms of figurative language in “Hallelujah” creates a sense of emotional depth and complexity. The song explores themes of love, loss, and redemption in a way that has made the song a timeless classic.

2. “Girl on Fire” by Alicia Keys

Alicia Key’s song “Girl on Fire” is a powerful anthem of self-discovery and empowerment. Keys uses the extended metaphor of fire throughout the song to send a powerful message to women.

Metaphor: The song’s title itself is a metaphor, as “girl on fire” represents a person who is full of passion, ambition, and energy. This metaphor and imagery is reinforced throughout the song with lyrics like “This girl is on fire.”

Imagery: The line “She’s living in a world, and it’s on fire” uses the image of a world on fire to create a sense of an urgent and dire situation.

Allusion: The line “We got our feet on the ground, and we’re burning it down” alludes to the idea of both being practical and fomenting revolution, suggesting a sense of social and political transformation.

Hyperbole: In the line “She’s walking on fire, but this girl is on fire,” the hyperbole exaggerates the woman’s strength and determination, emphasizing the idea that she is truly unstoppable.

Personification: The line “Looks like a girl, but she’s a flame” uses personification to give the abstract concept of a flame human qualities, creating a sense of empowerment and vitality.

The rich use of figurative language in “Girl on Fire” emphasizes the power and strength of women, celebrating their determination to overcome challenges and succeed against all odds. Through the figurative use of fire as a metaphor, the song inspires listeners to pursue their dreams with passion.

1. “Bohemian Rhapsody” by Queen

“Bohemian Rhapsody” is arguably Queen’s most popular song and one of the most famous rock songs of all time. It tells the story of a young man who has killed someone, gone on the run but knows that he will eventually be caught and punished. Fans have speculated that the song is a metaphor for something more, but no one knows.

The song contains some outstanding elements of figurative language, such as:

Metaphors: “Caught in a landslide, no escape from reality.” This line is a metaphor for feeling stuck by what is going on in your life and not being able to escape.

In the line, “Is this the real life? Is this just fantasy?”, the singer uses the metaphor of “real life” and “fantasy” to suggest a sense of confusion and uncertainty.

Personification: The line “Thunderbolt and lightning, very, very frightening me” uses personification to give human qualities to the natural elements of thunder and lightning, creating a sense of fear and chaos.

Symbolism: The phrase “Scaramouche, Scaramouche, can you do the Fandango?” uses the symbol of Scaramouche, a stock character from Italian theater, to suggest a sense of playfulness and frivolity.

Allusion: The line “Bismillah! No, we will not let you go” alludes to the Islamic phrase “Bismillah al-Rahman al-Rahim”, which means “In the name of Allah, the Compassionate, the Merciful”, to suggest a sense of religious defiance.

Hyperbole: The line “I see a little silhouetto of a man” uses hyperbole to exaggerate the smallness of the man’s silhouette, creating a sense of whimsy and humor.

Overall, the elaborate use of figurative language in “Bohemian Rhapsody” adds to the song’s emotional impact, creating a sense of drama, humor, and surrealism that has made it a beloved and enduring classic in popular music.

In Conclusion

So many songs include elements of figurative language. It gives artists a way to express themselves and adds another dimension to some of our favorite songs. You’ll be surprised how many uses of figurative language you begin to notice on the radio.

David Schwartz

Born and raised in Austin, David is a dedicated writer and avid fragrance lover. When he's not trying out perfumes, he enjoys traveling and exploring new restaurants.

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Casper Ruud: ATP 500 Champion! 🏆 @CasperRuud98 @bcnopenbs #BCNOpenBS pic.twitter.com/9UtNPCkFtV — Tennis TV (@TennisTV) April 21, 2024

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Electrical Engineering and Systems Science > Audio and Speech Processing

Title: text-to-song: towards controllable music generation incorporating vocals and accompaniment.

Abstract: A song is a combination of singing voice and accompaniment. However, existing works focus on singing voice synthesis and music generation independently. Little attention was paid to explore song synthesis. In this work, we propose a novel task called text-to-song synthesis which incorporating both vocals and accompaniments generation. We develop Melodist, a two-stage text-to-song method that consists of singing voice synthesis (SVS) and vocal-to-accompaniment (V2A) synthesis. Melodist leverages tri-tower contrastive pretraining to learn more effective text representation for controllable V2A synthesis. A Chinese song dataset mined from a music website is built up to alleviate data scarcity for our research. The evaluation results on our dataset demonstrate that Melodist can synthesize songs with comparable quality and style consistency. Audio samples can be found in this https URL .

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Trump re-writes Battle of Gettysburg: ‘Never fight uphill, me boys!’

• Updated: Apr. 16, 2024, 1:50 p.m. |
• Published: Apr. 15, 2024, 11:02 a.m.

Donald Trump’s take on the Battle of Gettysburg, delivered during his remarks at a weekend rally in Schnecksville, Pa., is getting plenty of blowback on social media. Saed Hindash | For lehighvalleylive.com

• John Luciew | [email protected]

Turns out Donald Trump rallies might not be the best place to bone up on American history.

This, after the presumptive 2024 GOP nominee for president faces plenty of social media blowback for his “weird” take on the Battle of Gettysburg this weekend in Schnecksville, Pa.

This was no ‘Gettysburg Address,’ according to Trump’s legion of social media critics.

Former Republican National Committee chairman Michael Steele took to X, formerly Twitter, to blast Trump’s remarks on America’s most famous military battle:

“You have no idea what the hell actually happened at Gettysburg,” Steele shot back, adding:

“Gettysburg was “Beautiful” and “it represented such a big portion of the success of this country.” Really? Oh and “Robert E. Lee is no longer in favor”! Do you know why he is no longer in favor? Because he was a damn insurrectionist! On June 7, 1865, Robert E. Lee was indicted for treason, and charged with “wickedly, maliciously, and traitorously” carrying on war against the Constitution and the “peace and dignity” of the United States of America. Sound familiar?”

So @realDonaldTrump Gettysburg was "Beautiful" and "it represented such a big portion of the success of this country." Really? Oh and "Robert E. Lee is no longer in favor"! Do you know why he is no longer in favor? Because he was a damn insurrectionist! On June 7, 1865, Robert E.… https://t.co/VUxRNPfLjR — Michael Steele (@MichaelSteele) April 14, 2024

Horror writer Stephen King, known for his magnum-opus-length novels on all things supernatural, was uncharacteristically succinct in summing up Trump’s mostly fictitious take on the bloody Civil War battle that raged back on July 1-3, 1863.

Tweeted King: ‘Trump: “Gettysburg! Wow!” What a dimbulb.’

Trump: "Gettysburg! Wow!" What a dimbulb. — Stephen King (@StephenKing) April 14, 2024

Many more critics seized upon Trump’s view of General Lee, who led the Confederate war effort and who Trump quoted in his speech using an inexplicable Irish brogue.

Trump said in part:

“Gettysburg. Wow. I go to Gettysburg, Pennsylvania, to look and to watch. And the statement of Robert E. Lee ― who’s no longer in favor, did you ever notice that? No longer in favor ― ‘Never fight uphill, me boys, never fight uphill.’ They were fighting uphill. He said, ‘Wow, that was a big mistake.’ He lost his great general, and they were fighting. ‘Never fight uphill, me boys!’ But it was too late.”

President Trump recounts Gettysburg as only he can. pic.twitter.com/dYW9a9PY5h — Citizen Free Press (@CitizenFreePres) April 15, 2024

While Trump’s words seemed to ignite a swift social media backlash, journalist Robert Mackey pointed out on X that Trump’s “bizarre Gettysburg riff” is nothing new, right down to his “ dopey invented quote” ascribed to Robert E. Lee.

Tweeted Mackey: “ It’s a sign of how normalized Trump’s frequently idiotic statements are that this bizarre Gettysburg riff is attracting attention now: it was a key part of his 2020 rally speeches — the praise for Robert E. Lee, the dopey invented quote “Never fight uphill me boys,” over and over”

Mackey accompanied his X post with four screenshots of Trump transcripts from 2020 campaign speeches showing nearly the same takes on Gettysburg and General Lee.

Confederate Gen. Robert E. Lee on his horse "Traveller" at the Gettysburg Battlefield. (File)

Here’s an excerpt from one of those Trump speeches from nearly four years before in which he explicitly ties praise of Lee to the removal of Confederate statues in recent years:

“And Robert E. Lee, he would have won except for Gettysburg. And that was because his general was killed who’s going to lead Gettysburg. “Never fight uphill, me boys. Never fight uphill.” He heard they were going uphill. “Stop them, stop them.” But we had no cell phones in that day, right? No cell phones. So they sent the horses to stop them, stop them, but it was too late. They fought uphill and they got slaughtered. That’s what happened. But Robert E. Lee, these were incredible things. But I hope you appreciate that we had a period of time when they were ripping down all the statues and monuments.”

Alas, there’s nothing new under the sun -- nor so it seems, at Trump rallies.

It's a sign of how normalized Trump's frequently idiotic statements are that this bizarre Gettysburg riff is attracting attention now: it was a key part of his 2020 rally speeches — the praise for Robert E. Lee, the dopey invented quote "Never fight uphill me boys," over and over https://t.co/g6sRBQk6iZ pic.twitter.com/19QMUuGFdy — Robert Mackey (@RobertMackey) April 15, 2024

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Theater Review: Not everyone will be 'Fallin' over Alicia Keys' Broadway musical 'Hell's Kitchen'

If you were to close Alicia Keys’ big semi-autobiographical musical on Broadway with any of her hit songs, which would it be

If you were to close Alicia Keys ’ big semi-autobiographical musical on Broadway with any of her hit songs, which would it be? Of course, it has to be “Empire State of Mind.” That’s the natural one, right? It’s also as predictable as the R train being delayed with signal problems.

“Hell’s Kitchen,” the coming-of-age musical about a 17-year-old piano prodigy named Ali, has wonderful new and old tunes by the 16-time Grammy Award winner and a talented cast, but only a sliver of a very safe story that tries to seem more consequential than it is.

It wants to be authentic and gritty — a remarkable number of swear words are used, including 19 f-bombs — for what ultimately is a portrait of a young, talented woman living on the 42nd floor of a doorman building in Manhattan who relearns to love her protective mom.

The musical that opened Saturday at the Shubert Theatre features reworks of Keys’ best-known hits: “Fallin’,” “No One,” “Girl on Fire,” “If I Ain’t Got You,” as well as several new songs, including the terrific “Kaleidoscope.”

That Keys is a knockout songwriter, there is no doubt. That playwright Kristoffer Diaz is able to make a convincing, relatable rom-com that's also socially conscious is very much in doubt.

This is, appropriately, a woman-led show, with Maleah Joi Moon completely stunning in the lead role — a jaw-dropping vocalist who is funny, giggly, passionate and strident, a star turn. Shoshana Bean, who plays her single, spiky mom, makes her songs soar, while Kecia Lewis as a soulful piano teacher is the show's astounding MVP.

When we meet Ali, she's a frustrated teen who knows there's more to life and “something's calling me,” as she sings in the new song, “The River.” At first that's a boy: the sweet Chris Lee, playing a house painter. There's also reconnecting with her unreliable dad, a nicely slippery Brandon Victor Dixon. But the thing calling Ali is, of course, the grand piano in her building's multipurpose room.

Outside this apartment building in the Hell’s Kitchen neighborhood — we get a clue the time is the early 1990s — are “roaches and the rats/heroin in the cracks.” But no criminality is shown — at worst some illegal krumping? — and the cops don’t actually brutalize those citizens deemed undesirable. They sort of just shoo them away. This is a sanitized New York for the M & M store tourists, despite the lyrics in Keys’ songs.

Another reason the musical fails to fully connect is that a lot of the music played onstage is fake — it's actually the orchestra tucked into the sides making those piano scales and funky percussion. (Even the three bucket drummers onstage are mostly just pretending, which is a shame.) For a musical about a singular artist and how important music is, this feels a bit like a cheat.

Choreography by Camille A. Brown is muscular and fun using a hip-hop vocabulary, and director Michael Greif masterfully keeps things moving elegantly. But there's — forgive me — everything but the kitchen sink thrown in here: A supposed-to-be-funny chorus of two mom friends and two Ali friends, a ghost, some mild parental abuse and a weird fixation with dinner.

The way the songs are integrated is inspired, with “Girl on Fire” hysterically interrupted by rap bars, “Fallin’” turned into a humorously seductive ballad and "No One” transformed from an achy love song to a mother-daughter anthem.

But everyone is waiting for that song about “concrete jungles” where “big lights will inspire you.” It comes right after we see a young woman snuggling on a couch, high over the city she will soon conquer. You can, too, if you just go past the doorman and follow your dreams.

Follow Mark Kennedy online.

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Suno AI can generate power ballads about coffee – and jingles for the Guardian. But will it hurt musicians?

Plug in some prompts and the ‘ChatGPT for music’ whips up a song in seconds – if you don’t mind slightly silly lyrics

Heralded as the ChatGPT for music, Suno AI is the latest iteration of generative artificial intelligence to flood social feeds, wowing users with its (ahem) lyrical prowess.

Plug in the musical style you want, a genre and a prompt for lyrics and Suno can spit out a full song for you in a matter of seconds.

The business has been around for two years, formulated by a group of machine learning experts in Cambridge who struck an interest in audio, according to a profile in Rolling Stone last month .

From the outset, making silly songs is slightly addictive. The lyrics might seem shallow and soulless, but they’re also often hilarious.

Asked for a power ballad about a morning coffee, Suno came up with:

Coffee, you’re my fuel for the soul (oh-oh) Without you, I’m feeling so cold (feeling so cold) Coffee, you ignite my fire within With each sip, a brand new day begins (oh-oh-oh)

When asked for a dance pop song about unrequited love, it spat out:

I’m watching you from the shadows of my mind But you’ll never know the feelings I hide In these neon dreams I’m lost in the night But my heart keeps hoping – maybe one day you’ll be mine

And in response to a request for a jingle about Guardian Australia , it went with:

From the shores of Sydney to Darwin’s embrace The stories we tell leave no room for disgrace Investigative journalism, always on the go Guardian Australia, letting truth flow

That’s what you get if you choose to have Suno generate the (often quite stilted) lyrics. If you want to put in slightly more effort, you can enter your own lyrics along with a genre and see what happens.

One prompt engineer last week tweeted a sad girl song using the text of the MIT software licence as the lyrics and it’s surprisingly catchy.

AI-generated sad girl with piano performs the text of the MIT License pic.twitter.com/h5wdMuNUdm — Riley Goodside (@goodside) April 4, 2024

As you can see the quality of the song will vary, but you can refine it and create up to 10 songs a day on the free account (which can’t be used for commercial reasons). For $10 a month you can make up to 500 songs and also commercialise them by uploading them to services such as Spotify or Apple Music.

One of Suno’s co-founders, Mikey Shulman, told Rolling Stone that the aim of Suno is not to replace artists, but to make the app fun and democratise the creation of music by making it more accessible to others.

But it doesn’t take much to hear similarities to songs you know. While you can’t type in a specific artist’s name to create a song in their style, you can definitely steer towards it via your prompts.

The tool can reportedly identify when lyrics you want it to use are subject to copyright. The company’s terms of service say that permission must be sought if you plan to use copyrighted lyrics.

But the main point of contention with the tool is whether or not it was trained on copyrighted material. Guardian Australia asked Suno to clarify this but did not get a reply by deadline.

Ed Newton-Rex, a composer and the CEO of Fairly Trained, an organisation founded to license content provided with consent to companies that train AI, posted on X last week several examples where, without naming certain artists, songs resembling those by Eminem, Queen and others were generated by Suno AI.

Artists are already concerned about what the effect of AI-generated music will mean for their industry. Elvis Costello, REM, Billie Eilish, Katy Perry and Jon Bon Jovi signed an open letter last week calling for AI companies to pledge not to develop technology that undermines or replaces the roles of songwriters or artists.

According to the letter, they fear that AI trained on their work could be used to create massive quantities of AI-generated sound and images that could replace human work and dilute royalty pools.

One of Suno AI’s investors, Antonio Rodriguez, also told Rolling Stone that he invested in the company with the knowledge that record labels could sue. The company said it was in communication with the major labels and sought to respect the work of artists.

A dystopian outcome of a product like Suno would be music streaming sites becoming clogged up with AI songs that sound similar in style to artists already struggling to earn a living from those very same platforms.

Suno AI seems to be aware of this potential outcome, saying an inaudible watermark is embedded into each song it generates so AI music can be identified.

The next question is whether any of the music streamers will put a handbrake on AI-generated music. Spotify, at least so far, seems to be leaning towards allowing AI-generated music that does not directly rip-off artists.

• Artificial intelligence (AI)
• Music streaming

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