question: Why is it that you remember lyrics to songs better when accompanied with the songs music
comment: Human senses and memories are bound up with each other. Similar to how scent can evoke a memory, sound can, too. When you hear the music, you're triggering the part of your memory that holds the lyrics more strongly than when you try to recall them without such help.
passages: Section::::Lyrical vs. instrumental memory.
   Other research provides support for memory of text being improved by musical training. Words presented by song were remembered significantly better than when presented by speech. Earlier research has supported for this finding, that advertising jingles that pair words with music are remembered better than words alone or spoken words with music in the background. Memory was also enhanced for pairing brands with their proper slogans if the advertising incorporated lyrics and music rather than spoken words and music in the background.
   The lyrics features references to aspects of popular culture such as Jean-Luc Picard and Masters of the Universe. Interviewing Maus for "Nothing but Hope and Passion", Grabow said "the lyrics come in [an] abstract, repetitive pattern," and Maus agreed, stating "personally, I just don’t have any gift for verses – at all. There are many examples of verse meeting music to sublime effects but that’s not a skill that I’ve got or have the time to develop. Also, I think that verse is finally foreign to music. Some of the best tracks are just in the form of nonsense syllables." Writer Chal Ravens suggested Maus' lack of care towards the lyrics led to them having "unerasable mental image[s]," such as on "Teenage Witch" ("Want to start a fire, witch? For that icy titty?!") and "Pets" ("Your pets are gonna die!").
   Lyrics can be studied from an academic perspective. For example, some lyrics can be considered a form of social commentary. Lyrics often contain political, social, and economic themes—as well as aesthetic elements—and so can communicate culturally significant messages. These messages can be explicit, or implied through metaphor or symbolism. Lyrics can also be analyzed with respect to the sense of unity (or lack of unity) it has with its supporting music. Analysis based on tonality and contrast are particular examples. Former Oxford Professor of Poetry Christopher Ricks famously published "Dylan's Visions of Sin", an in-depth and characteristically Ricksian analysis of the lyrics of Bob Dylan; Ricks gives the caveat that to have studied the poetry of the lyrics in tandem with the music would have made for a much more complicated critical feat.
   An experiment by Wanda T. Wallace setting text to melody suggested that some music may aid in text recall. She created a three verse song with a non-repetitive melody; each verse with different music. A second experiment created a three verse song with a repetitive melody; each verse had exactly the same music. A third experiment studied text recall without music. She found the repetitive music produced the highest amount of text recall, suggesting music can serve as a mnemonic device.
   British music magazine "Record Mirror" placed it at number 14 in their critics' list of the best albums of the 1980s, and it was included in journalist Garry Mulholland's book "Fear of Music: The 261 Greatest Albums Since Punk and Disco" where he described the record as "a unique and modestly epic fusion of pop, reggae, funk, soul, jazz and lyrics submerged in the deep end of political philosophy."
  
  Section::::Background.
   Another song on the album gave Mathis the opportunity to provide some insight into his emphasis upon including as many verses as he does: "'I loved singing songs that were part of that great songbook that was recorded at the time by Ella Fitzgerald and eventually Sarah Vaughan. I listened to those things over and over, learning songs like "A Ship Without a Sail". I used to just sit on the bed and play those songs over and over and learn the verses. That’s the reason I sang so many verses on my recordings…I listened to Ella and Sarah do the verses…and they sang them meticulously.'"
   Bilingualism typically confers specific preferences for the language of lyrics in a song. When monolingual (English-speaking) and bilingual (Spanish- and English-speaking) sixth graders listened to the same song played in an instrumental, English, or Spanish version, ratings of preference showed that bilingual students preferred the Spanish version, while monolingual students more often preferred the instrumental version; the children's self-reported distraction was the same for all excerpts. Spanish (bilingual) speakers also identified most closely with the Spanish song. Thus, the language of lyrics interacts with a listener's culture and language abilities to affect preferences.
  
  Section::::Emotion recognition.
   One's attention to words is impacted by emotion grasping vocabulary. Negative and positive words are better recalled than neutral words that are spoken. Many different ways that attention is focused on hearing what the speaker has to say are the inflection of the presenter's voice in a sad, content, or frustrated sound or in the use of words that are close to the heart. A study was conducted to observe if the use of emotional vocabulary was a key receptor of recall memory. The groups were put into the same lecture halls and given the same speakers, but the results came back to determine that the inflection and word choice recalled by the listeners concluded that emotional words, phrases, and sounds are more memorable than neutral speakers.
   Oral expression brings words together in pithy phrases that are the product of generations of evolution: the 'sturdy oak tree', the 'beautiful princess' or 'clever Odysseus'. This does not apply specifically to poetry or song; rather the words are brought together out of habit during general communication. 'Analyzing' or breaking apart such expressions is risky: they represent the work of generations and "there is nowhere outside the mind to store them."
   Neuroscientific evidence suggests that memory for music is, at least in part, special and distinct from other forms of memory. The neural processes of music memory retrieval share much with the neural processes of verbal memory retrieval, as indicated by functional magnetic resonance imaging studies comparing the brain areas activated during each task. Both musical and verbal memory retrieval activate the left inferior frontal cortex, which is thought to be involved in executive function, especially executive function of verbal retrieval, and the posterior middle temporal cortex, which is thought to be involved in semantic retrieval. However, musical semantic retrieval also bilaterally activates the superior temporal gyri containing the primary auditory cortex.
   Smith (1985) studied background music with word lists. One experiment involved memorizing a word list with background music; participants recalled the words 48 hours later. Another experiment involved memorizing a word list with no background music; participants also recalled the words 48 hours later. Participants who memorized word lists with background music recalled more words demonstrating music provides contextual cues.
   In the same interview, he spoke about his favorite song on the album, saying: "Man...to keep it real, without sounding wack, all of them. But you know, each for different reasons. There’s a song on there called “Black Bentley,” that I can say I’m proud of for writing. I’m proud that I stayed up until 6:30 in the morning to do it to get it all out. It's probably my favorite song I’ve ever written. It might not be my favorite Dom Kennedy song ever, but it's definitely the best song I’ve ever written. A lot of it is more like poetry to melodic and hard Rap beats. And I feel like, in the context of that, the writing on there is great. It's great quality writing. I would compare it more to a book, an audio book, than an album, you know? It's more traditional. I’m talking more about my life than the Rap you’re hearing nowadays."
   Section::::Challenges for future studies.
  
  Even though many studies have proposed the possible neural mechanism of music therapy for non-fluent aphasia, many crucial questions are still unanswered. For example, in contrast to the idea that non-fluent aphasic patients’ ability to sing is due to their undamaged right hemisphere., other studies suggest that speaking and singing words are based on the same neural mechanisms. Therefore, patients’ better performance on singing words might result from their long-term memories for familiar lyrics
   "Our very being exposes us to the address of another, she answers. We suffer from the condition of being addressable. Our emotional openness, she adds, is carried by our addressability. Language navigates this" (Rankine, 43–46), "you begin to understand yourself as rendered hyper-visible in the face of such language acts. Language that feels hurtful is intended to exploit all the ways that you are present. Your alertness, your openness, and your desire to engage actually demand your presence, your looking up, your talking back, and, as insane as it is, saying please" (43–46).
   After each interview I would listen back to the recording for moments that were interesting in both meaning and melody. By meaning I mean the thoughts expressed, by melody I mean the cadence and inflection that give the voice a sing-song quality. It has always been interesting to me how we use sounds to convey concepts. Normally, we don’t pay any attention to the movement of our lips and tongue, and the rising and falling of our voices as we toss our thoughts back and forth to each other. We just talk and listen. The only time we pay attention to these qualities is in song. (Just as when we read we don’t pay attention to the curl and swing of the letters as though they were little drawings.)
   Music has been shown to improve memory in several situations. In one study of musical effects on memory, visual cues (filmed events) were paired with background music. Later, participants who could not recall details of the scene were presented with the background music as a cue and recovered the inaccessible scene information.
   In modern commercial writing, it is a common practice for the musical track to be produced first without any vocal melody or lyrics. This is partially due to the rise of portable music production equipment and digital audio workstations that are designed for the swift arrangement of electronic music, such as Ableton Live.
   The album cover was plain white, with the handwritten artist name and album title separated by a dark blue horizontal line. Early editions of the vinyl LP were embossed with a pictogram of an insect inside a circle in the bottom right corner. On the CD and later versions of the vinyl album this pictogram was printed onto the album cover.
  
  Section::::Critical reception.
   The effect of implicit memory was tested employing priming procedures. Several studies confirm implicit memory as a separate entity. In one such experiment, participants were asked to listen to several songs and decide if they were familiar with the song or not. Half of the participants were presented with familiar American folk songs and the other half were presented with songs made using the tunes of the same songs from group 1 but mixed with new lyrics. Results show that participants in group 1 had a much higher chance of recalling the songs as being familiar, even though in both groups, the tunes of the songs were the same. This study shows that people are even implicitly making connections amongst their memories. Much memory study focuses on associative memory, or memories formed between two entities, linking them together in the brain. This study shows that people implicitly make a strong associative connection between a song's tune and its lyrics that they can't separate later.
   BULLET::::- In "Going Away to College," Mark sings "But you're so beautiful, Skylee" (from his wife's name Skye Everly), instead of "But you're so beautiful to me." At the end of the song, Mark sings, "But you're so beautiful" which is where the song would end on the studio album, but he adds, "To Travis!"
   Section::::Semantic vs. episodic.
   The December 9, 1944 edition of "Billboard" magazine reviewed an episode saying "Vera Massey, in "Will You Remember?", improved over last week. Tonight her songs and soliloquies were better chosen and faster paced. She was sentimental, not sloppy. New twist had her at a window talking to her overseas husband. As she turned to walk to the piano, stagehands noise-lessly removed the wall and window, and camera moved in while the other (inside the room) took over for a couple of seconds. She had taken only a few steps before camera one caught up and record the rest of her movement from the window. It was a nice touch".
   The song is a testament to the way that music can instantly trigger a memory that was seemingly forgotten. The woman in the song is waiting for change at a counter when she hears a familiar song. Out of nowhere, she is suddenly reminded of a time when she and a former lover sang along to the song on the radio as they drove through the Rocky Mountains. She recalls that she tried many ways to rid herself of the memories of that failed romance, only to have them come rushing back in an instant when she hears a song attached to a moment in their time together:
   When she is hired to interpret at a music festival, she has to memorize the lyrics of one hundred fifty songs or more at a time.
  