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I Taught the Taylor Swift Class at Harvard. Here’s My Thesis

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L ast fall I told Harvard’s English Department that I planned to offer a class this spring on Taylor Swift . No one objected; Harvard professors like me get lots of latitude in confecting electives as long as we also offer the bread-and-butter material our majors need. (Most of my work is poetry-related; I also teach our regular undergrad course about literary form, from Beowulf on.) I’d call my new class Taylor Swift and Her World , as in: We’d read and listen to other artists and authors (part of her world). But also as in: It’s her world; we just live in it.

I’ve been living in it ever since. I thought I’d be teaching a quiet seminar: 20-odd Swifties around a big oak table, examining and appreciating her career, from her debut to Midnights , alongside her influences, from Carole King (see her Rock & Roll Hall of Fame speech) to William Wordsworth (see “The Lakes” from Folklore ). We would track her echoes and half rhymes, her arrangements and collaborations and allusions, her hooks and her choruses. We might sing along. We’d learn why “You Belong With Me” relies so much on its with ( you don’t belong to me, nor I to you ). We’d learn how the unease in “Tolerate It” speaks to its time signature (5/4). Maybe some English majors would get into songwriting. Maybe some Swifties would leave with old poems in their heads.

To be fair, almost all those things have now happened. We did sing along. Some undergrads learned to love the 18th-century poet and satirist Alexander Pope, or at least to pretend they did: Pope’s “Epistle to Dr. Arbuthnot” depicts his exasperation with superfans, false friends, and haters in ways rarely equaled until Reputation. We cracked open Easter eggs, and we studied her rhythms. But we couldn’t fit around a table. At one point 300 students signed up for the class; almost 200 ended up taking it. We met in a concert hall on campus, with a grand piano at center stage. I gave what I hope were engaging lectures, with pauses for questions, and stage props: a melodica, or a cuddly stuffed snake (for the snake motifs on Reputation ). We had theater lights, and balcony seats, and the kind of big screen few humanities classrooms now need.

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Harvard English Professor Stephanie Burt teaches the course “Taylor Swift and Her World.”

And we had eyes on us from outside the room. One user on Twitter (now officially X) “leaked” our syllabus as if we had kept a Hollywood secret. Students put clips (with our okay) on TikTok. And we had reporters—daily, for weeks—asking to visit. We ended up inviting the Today show, whose camera-ready journalist Emilie Ikeda listened admirably to our undergrads. My teaching assistants, our students, and I spoke with the BBC. And with TMZ. And with Australian public radio. And with broadcast TV news in Boston, and Boise, and Sacramento, and NPR and RTE (Irish public broadcasting), and with journalists from Brazil, Chile, the People’s Republic of China, Ecuador, Finland, France, Germany, Greece, India, Mexico, New Zealand, Norway, Poland, Portugal, Singapore, Spain, and Sweden.

We learned, in other words, that Swift attracts attention: That attention amplifies things about her, even without her. Teaching the class sometimes felt like one more of Swift’s vaunted collaborations, another multimedia performance involving reporters, and students, and her. Journalists asked if Swift would visit. (She’d be welcome, but she’s got a lot going on.) They asked what I wanted students to learn. (How to think about works of art.) And they asked if Harvard resisted a course on a celebrity. (We read dead people too, like Pope and James Weldon Johnson and Willa Cather. Who were, in their own time, celebrities.)

If I had—and have—a thesis about Swift’s work as a whole, here it is: She’s excelled as a songwriter and as a performer by staying both aspirational and relatable. Swifties and casual fans see parts of ourselves in her, but we also see someone we wish we could be. Her first few albums made the pairing clear: Songs like “Fifteen” and “You Belong With Me” spoke to common high school crushes and heartbreaks. At the same time, they let listeners look up to her. Not only did she put into words what so many fans felt but could not express so crisply, she seemed lucky, even enviable, while doing it. She sang about senior boys who might stop you in hallways, “wink at you and say, ‘You know, I haven’t seen you around before,’ ” not about bullies who might shove you in bins; she wrote about feeling excluded by classmates, but also about her attentive, affectionate mother, who took her to “drive until we found a town far enough away / And we talk and window shop till I’ve forgotten all their names.” No wonder so many people—especially girls her age and younger—saw in her both a peer and an ideal.

When our class entered her pop era, her post-teenage stardom from 1989 on, my thesis hit a snag. We saw how the woman who clearly enjoyed the lights, who sang “we never go out of style” and dated Harry Styles, remained aspirational. But what made these versions of Swift relatable? One answer: Like any great writer in any medium, she has a talent for framing common emotions, for crystallizing nostalgia, lust, and regret. If we’ve felt them, she lets us feel them anew.

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Another answer, though, arose on the classroom’s wood floor, or perhaps at its grand piano. Swift sings about life onstage, about her wish and even need to sparkle, bejeweled, whether or not she likes her dating life. Even when she tries to find some privacy, she can’t stop thinking that other people are watching, “drama queens taking swings” (“Call It What You Want”). Some nights she feels like a giant, or a monster, as she put it in “Anti-Hero.” She can look at the crowd but never in the mirror and knows she has to perform. She knows she needs us even more than we need her, even when she gets “tired of being known” (“Dorothea”): She’ll do many things not to feel alone. She can even do it with a broken heart.

So could we, I realized. So could I. At a college famous for being famous, in front of what—for most humanities teachers—counts as a crowd, I could layer my own need for approval, my wish that students would choose me (or my favorite writers), and my own impostor syndrome over Swift’s, and see that my dreams weren’t rare. I saw myself, not in her talents but in her anxieties, one more child for whom, as she put it lately, “growing up precocious sometimes means not growing up at all.” Some of our students, I think, could sympathize too, in the pressure chambers and dens of precocity that make up Harvard: They too might think—as songs like “Nothing New,” like “Castles Crumbling,” like “ Clara Bow ” imply—that no kudos would suffice, no A+ would be enough.

Fortunately I did not have to feel that way—much less to study Swift—on my own. Though I devised the syllabus with help from head teaching assistant MJ Cunniff, the teaching itself was a team affair: myself and MJ and nine discussion section leaders, from Harvard’s Music and American Studies departments and Harvard Law School and from Northeastern and Tufts and Brown universities. MJ gave a lecture that tied Swift to Sylvia Plath, prompting a passel of essays about her verse. Other discussion leaders explicated chord changes on guitar; explained the dialectology in “country” and “pop” voices; and unpacked the Swift–Kanye–Kim Kardashian spat, with videos.

As Swift does on her songs, we brought in guest stars too. The critic and songwriter Franklin Bruno explained why pop songs often (and folk songs almost never) have bridges. Bryan West, USA Today ’s Swift beat reporter, flew to Boston to meet us. Dani and Olivia from the great fan podcast Taylearning conducted a survey for students, then visited us in person to break down the data. Fashion historian Chloe Chapin analyzed Swift’s outfits; law school prof Rebecca Tushnet demystified copyright.

Ours was hardly this year’s sole college class on Swift: If I teach it again—and I hope I can—I’ll compare notes first with professors of English, communication, economics, music, and more, from Ghent University in Belgium, the University of Texas at Austin, TCU, Westfield State, and the University of Kansas. I’ll also learn from the mixed reviews students gave me: A few dozen (to quote Swift’s “Cardigan”) said I was their favorite and they would gladly come back to (more courses with) me. A few dozen more students found me hard to follow (I could have used, should have used, bullet points on slides). In our final week we asked students to tell us—anonymously—their favorite and least favorite aspects of class. What did they consider the course’s best parts? Our out-of-town guests, and teaching assistants’ guest lectures. Apparently Taylor Swift and Her World reached its new heights when I sat down, shut up, and just listened. Like all classes, it didn’t belong to me; it belonged with the students who chose to be there. The artist who wrote “Long Live” for her band, who encouraged fans to make friendship bracelets, who knows how we need one another, might have approved.

Stephanie Burt

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Taylor Swift’s Depiction in Genre, Culture, and Society Essay

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Taylor Swift is one of today’s most well-known and influential people. As a singer-songwriter, fashion icon, and philanthropist, she has amassed millions of fans worldwide. This essay examines Taylor Swift’s depiction in the media and society and how her image has influenced how people see her. Taylor Swift is depicted in the media and everyday life as a personable, down-to-earth individual who connects with a diverse range of individuals (Aguirre, 2019). Her prominence bolsters this portrayal as a fashion icon and socially concerned advocate, which positions her as an inspiration to her fans.

Taylor Swift is typically regarded as a personable and genuine person who connects with many admirers, both young and elderly. She is well-known for her narrative songs, many of which are inspired by her own experiences and relationships (Jensen, 2019). Hence, she has earned a reputation as a musician who can connect and engage with her audience on a human level. For example, Taylor Swift’s image in the media includes her standing as a fashion star. Swift is well-known for her particular style, which combines old and new elements. She has worked with several fashion firms, including Louis Vuitton and Stella McCartney, and has appeared in several fashion magazines (BillboardStyle, 2022). This fashion icon portrayal has helped to cement her status as a likable personality who is not afraid to experiment with her appearance.

Taylor Swift’s advocacy and kindness are other examples of how she is regarded in society. Swift has been vocal about various social and political issues, including LGBTQ rights and education. She has also been involved in several charitable activities, such as attempts to alleviate hunger and assist disaster victims (Rice, 2020). This portrayal of her as a socially conscious and committed celebrity has contributed to her standing as an inspiration and role model for her fans.

In conclusion, in the media and society, Taylor Swift is portrayed as an approachable, genuine person who connects with various people. Her status as a fashion icon and socially conscious activist solidifies this portrayal and positions her as an inspiration to her followers. Taylor Swift has received recognition not only for her status as a socially conscious campaigner and fashion icon but also for her philanthropic activities and support of numerous non-profit organizations. Her dedication to using her position to improve the world has bolstered her reputation as a role model and an inspiration to her supporters.

Aguirre, A. (2019) ‘ Taylor Swift on sexism, scrutiny, and standing up for herself ‘, Vogue , Web.

BillboardStyle, B. (2022) ‘ Taylor Swift’s style evolution, from 2006 to now ‘, Billboard, Web.

Jensen, E. (2019) ‘ Dwayne Johnson, Taylor Swift, Gayle King, more cover time’s 100 most influential people issue ‘, USA Today: Time magazine. Gannett Satellite Information Network. Web.

Larocca, C. (2019) ‘ Taylor Swift is the artist of the Decade ‘ , Insider, Web.

Rice, N. (2020) ‘ Taylor Swift promises to ‘always advocate’ for rights of the LGBTQ community: I’m ‘grateful for this ‘, People, Web.

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IvyPanda. (2024, February 6). Taylor Swift’s Depiction in Genre, Culture, and Society. https://ivypanda.com/essays/taylor-swifts-depiction-in-genre-culture-and-society/

"Taylor Swift’s Depiction in Genre, Culture, and Society." IvyPanda , 6 Feb. 2024, ivypanda.com/essays/taylor-swifts-depiction-in-genre-culture-and-society/.

IvyPanda . (2024) 'Taylor Swift’s Depiction in Genre, Culture, and Society'. 6 February.

IvyPanda . 2024. "Taylor Swift’s Depiction in Genre, Culture, and Society." February 6, 2024. https://ivypanda.com/essays/taylor-swifts-depiction-in-genre-culture-and-society/.

1. IvyPanda . "Taylor Swift’s Depiction in Genre, Culture, and Society." February 6, 2024. https://ivypanda.com/essays/taylor-swifts-depiction-in-genre-culture-and-society/.

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IvyPanda . "Taylor Swift’s Depiction in Genre, Culture, and Society." February 6, 2024. https://ivypanda.com/essays/taylor-swifts-depiction-in-genre-culture-and-society/.

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I sat in on a Taylor Swift class at Harvard. Here's what I learned

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Donning my backpack and a colorful spread of friendship bracelets on my wrist, I walked through the storied streets of Harvard University to Lowell Lecture Hall, built in 1902. It’s just as you’d imagine: A step back in time through brick, limestone and ornate doorways.

As a child, I dreamed of attending the renowned Ivy League school. And now, more than a decade since graduating high school, here was my chance … in a subject I know all too well .

Harvard’s new English class “Taylor Swift and Her World” is the brainchild of Professor Stephanie Burt — a Harvard and Yale alum, literary critic, poet, writer … and massive Swiftie. It’s almost as if the self-proclaimed head of Harvard’s “Tortured Poets Department ” was in Swift’s ear ahead of the pop star’s newly announced album (“The Tortured Poets Department”). Safe to say it will be required reading — or should I say listening? — for the class come April.

Monday mornings are quiet on most college campuses, even Harvard, as students slowly emerge from lively weekends spent with friends. But students arrived noticeably early to the noon class.

The twice-a-week, 75 minute-long lecture kicked off with some impromptu singing when one of the teaching assistants started playing Swift’s 2008 song “Love Story” on the piano.

The room of more than 200 people — from different years and majors — came to life in this bucket-list worthy class. Swifties have a reputation for being welcoming, and this class was no exception. Sitting front and center, I joined in, belting out, “I’ll be waiting, all there’s left to do is run” with my arms wrapped around neighboring students.

Already, this was proving to be a college class unlike any other.

To those of you rolling your eyes, know that this class is far more than a dance party and series of clever puns. Now, look what you made me do.

Rather, the class is a deep dive into Swift’s sweeping catalog and its cultural impact, closely examining themes and writing mechanisms that parallel literary greats from decades before.

Willa Cather, James Weldon Johnson and William Wordsworth are all on the reading list, along with watching Swift’s documentary “Miss Americana” and her 2022 NYU commencement speech .

“We will learn how to study fan culture, celebrity culture, adolescence, adulthood and appropriation; how to think about white texts, Southern texts, transatlantic texts, and queer subtexts,” according to the syllabus, which is riddled with lyric references. “We will learn how to think about illicit affairs, and hoaxes, champagne problems and incomplete closure.”

This week, the class was dissecting Swift’s second album, “Fearless,” before moving on to subsequent albums later.

As a songwriter, Swift is what poet and literary theorist Allen Grossman “calls a hermeneutic friend,” Burt said to the class.

Umm … a what ?

As if she heard my thoughts, Burt quickly clarified the “special English professor word.” She explained that in the song “Fifteen,” Swift establishes herself as the listener’s friend, someone who knows what you’re going through and can help guide you, like a fairy godmother. “Only not a god, not a mother, and not a fairy,” Burt quipped, to which the class chuckled.

Even through complicated topics, the class’s energy never dulled.

Swift had their attention … and Burt’s occasional lyrical dancing also helped. While she sang the lines, “Marry me Juliet, you’ll never have to be alone,” she got down on one knee.

Burt says the class situates Swift within a broader literary tradition.

“It is to connect these things to other artists who are currently more popular and to say, ‘If you like this, try that, if you enjoy studying this, try that,’” she says. “And that is how works of art survive.”

It’s that energizing effect that’s made the history-making dynamo academia’s new favorite subject — from a Swift-inspired psychology class at Arizona State University to an entrepreneurship course at UC Berkeley.

Harvard’s Taylor Swift class saw so much demand, Burt sought out more teaching assistants on X, prompting responses from hundreds of eager Swifties.

The TAs, whose expertise ranges from performance studies to copyright law and American literature, help run break-out discussion groups once a week and occasionally are featured in a lecture.

Matthew Jordan replied to Burt’s viral tweet when he was visiting Boston and scored the job with the help of his social media videos breaking down music theory of Swift’s critically acclaimed discography.

He was met by applause as he revealed his “Junior Jewels” shirt beneath his button-up, a reference to Swift’s “You Belong With Me” music video, before diving into the timeless principles of songwriting … like the use of the word you.

Jordan proceeded to go through all 13 of Swift’s songs on “Fearless” to point out how quickly you emerges.

“Fifteen” — First line.
“Breathe” — Third word.
“You Belong With Me” — First word.

He explained Swift's use of “you” is all about getting the listener engaged and feeling part of the song. She’s singing about herself — and about the person hearing her song.

There are no exams in this course. But students do have to write evidence-based academic essays comparing Swift's discography to other literary works, as well as complete assignments that could take a creative form such as song or stage design.

A senior at Harvard told me she stayed up until 5 a.m. that day working on her thesis, but missing this class was out of the question.

That is the power of Swift.

Emilie Ikeda (center) and the Harvard Swifties.

And our trip to Harvard wouldn’t be complete without trading friendship bracelets, a Swiftie tradition popularized during the Eras Tour.

I handed one student a bracelet spelling TODAY, and in return, she slipped a bracelet on my wrist that read “Fearless.”

In the words of Swift, I don’t know how it gets better than this.

Emilie Ikeda is an NBC News correspondent based in New York.

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Presenting superb samples isn't the only way our free essays service can aid students in their writing efforts – our authors can also create from point zero a fully customized College Essay on Taylor Swift that would make a genuine foundation for your own academic work.

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Taylor swift: mastering the art of iconic branding and marketing.

The Power of Taylor Swift's Brand In contrast to Sam Smith and Liam Gallagher, who adhere to conventional marketing and publicity campaigns (Music Week), Taylor Swift has ascended to the status of an iconic legend, boasting an impressive track record of five #1 singles as...

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Contrasting Paths of Taylor Swift and Katy Perry

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Three Artifacts: Taylor Swift, Queen and The Handmaid's Tale

Bohemian Rhapsody: Pushing the Boundaries of Rock Bohemian Rhapsody is known as one of the most popular songs nationwide. Written by the legend himself Freddie Mercury and performed by one of the most well-known rock bands Queen, Bohemian Rhapsody is considered one of the greatest...

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Have A Memorable Wedding Day With Taylor Swifts “Fearless”

Love is the master key that opens the gates of happiness, of hatred, of jealousy, and, most easily of all, the gate of fear. Weddings are the most memorable event in life. Sometimes, it is an event wherein the family will get together. It is...

Best topics on Taylor Swift

1. Taylor Swift: Mastering the Art of Iconic Branding and Marketing

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The art of studying Taylor Swift: College campuses embrace themed courses

Illustration of Taylor Swift performing wearing a graduation cap and a diploma as a microphone.

As Taylor Swift became increasingly synonymous with American pop culture, universities around the country have started creating entire courses dedicated to studying her lyricism and impact.

New York University’s Clive Davis Institute was among the first to offer such a class in 2022 , with lectures taught by Rolling Stone’s Brittany Spanos. Others have followed suit in the semesters since.

Some courses focus on Swift as a business and marketing mastermind, while others analyze her storytelling techniques with all the detail and skill of poetry analysis.

Professors teaching Swift-inspired classes at Harvard University, the University of Texas at Austin, the University of Florida and the University of California, Berkeley unpacked their motivations for building entire courses around the 12-time Grammy winner and her discography. They shared the learning objectives of their courses and how students can get an A in “Taylor Swift Studies.”

Harvard University

Name of class: “Taylor Swift and Her World”

Professor: Stephanie Burt, a poet, literary critic and professor of English. An avid Swiftie, Burt said she is “grateful” she can’t sing, or she “would have tried and utterly failed” to make a living as a singer-songwriter herself.

What’s on the syllabus? Students taking the course will be tasked with analyzing Swift’s discography as if they were doing a close reading in a poetry class, identifying rhetorical devices and other literary tools employed by Swift in her work. The syllabus also includes works that Burt chose for “thematic connection” to Swift’s music, including poetry about childhood nostalgia or girlhood, novels about being a performance artist, and essays or works of criticism about singing and songwriting. These works include “The Song of the Lark” by American novelist Willa Cather, selected poems by William Wordsworth, and an academic essay about Taylor Swift and “nostalgic girlhood” by Margaret Rossman. Burt said she intentionally selected work about “being looked at and having to incarnate femininity” that also engages with societal expectations women face to “be hot for men, love yourself and make your own decisions.”

Amount of Swiftie knowledge required: Burt said she expects more people taking this course to come in with some knowledge of Swift’s work than she does when she teaches a George Eliot course, for example. However, she asserts that you do not have to be a Swiftie to take the course or to succeed in it. Burt said this was the “first time” in her academic career that one of her favorite musical artists was also so widely impactful that Harvard’s resources would be well-spent dedicating a course to their discography, not to mention popular enough that students would be compelled to sign up.

How you’d get an A: Students taking the course will have to demonstrate their ability to write “skillfully and concisely” through a series of essays, said Burt. The first paper must be about a Taylor Swift song or an event in Swift’s career, the second about another literary work studied in the class, and the topic of the third paper is up to the discretion of each student. Burt said she hopes students develop a greater appreciation for Swift’s discography and “how it works on people who love it,” as well as a “more nuanced and useful toolkit for literary, cultural and musical analysis” that they can then apply to other topics they think are important or want to talk about.

Name of class: “The Taylor Swift Songbook”

Professor: Elizabeth Scala, a medievalist by training who specializes in the works of Geoffrey Chaucer, particularly “The Canterbury Tales.” She called her Swift class a “contemporary turn” in her academic work and created an Instagram account to document the course. Her daughter, who is a “huge Swiftie,” gave her the idea to develop a class on Swift’s work during the pandemic.

What’s on the syllabus? Scala said she designed the course around the “formal techniques and literary devices” Swift uses in her music. The beginning of the class focuses on an analysis of several Taylor Swift songs, so that students can “get used to thinking about them structurally,” Scala said. This involves discussing the “anatomy” of a Taylor Swift song, where students have to go through the song slowly and talk about its component parts. This enables students to develop formal language to discuss her storytelling techniques, such as identifying a “repeated feature of the chorus” that changes the third time she sings it and discussing what that might signify. The course subsequently pairs analysis of Swift’s work with “analogous” literary works; for example, Scala pairs “...Ready for It?,” the opening track from “Reputation,” with a Christopher Marlowe poem, “The Passionate Shepherd to His Love.” Students are tasked with comparing the two works, both of which employ a “fantastical situation,” like the metaphorical robber/heist scenario in Swift’s track.

Amount of Swiftie knowledge required: Though it is certainly not a requirement, Scala expects many of her students to be Swifties from the get-go. Swift’s popularity, she said, makes her work an accessible entry point for developing the critical analysis necessary to succeed in college-level English courses. Scala adapted the course from a class she used to teach at UT Austin about the “Harry Potter” books, which served a similar purpose of using a familiar and popular work to introduce students to literary analysis.

How you’d get an A: Succeeding in the course will require students to develop fluency when discussing and writing about the function of poetic structure in Swift’s work and the complementary literary material. “They’re carrying her music around on their phone all the time, with earbuds in listening to it. … I hope it gives validation to what they like so much about her writing and it’s not just a good song because they like it,” she said. “It’s a good song because it does this and it plays with language in these ways.”

University of Florida

Name of class: “Musical Storytelling With Taylor Swift and Other Iconic Female Artists”

Professor: Melina Jimenez, an English professor at UF with a background in linguistics. She is not a Swiftie herself, but said seeing her students engage in “deep discussions” about Swift before and after class spurred her to create the course.

What’s on the syllabus? Throughout the 13-week course (Swift’s lucky number!), students will explore Swift’s discography and the storytelling tools that make her work so compelling. Jimenez will ask them to pay particular attention to themes like “old flames, infidelity, aging, and double standards” in Swift’s music and discuss criteria for how popular music is “evaluated and situated in current historical context.” The course will also touch on Swift’s musical influences, examining works like “Jolene” by Dolly Parton and “It Wasn’t God Who Made Honky Tonk Angels” by Kitty Wells, which Rolling Stone called “the Fifties equivalent of a modern-day diss track.”

Amount of Swiftie knowledge required: Many fans of Swift will be drawn to the course, but Jimenez said she “wants to learn what makes Swift so interesting for young people.” “And hopefully introduce students to artists that they might not have heard of before, or hadn’t given much thought to because they hadn’t spent the same amount of time with their lyrics.” Non-Swifties may have some catching up to do, but won’t be at too much of a disadvantage.

How you’d get an A: Students will be assessed through discussion board posts and responses, class discussions, and a group project instead of formal essays. They will also annotate two or three songs each week, which will inform class discussions. At the end of the semester, students will work in small groups on a final project, identifying themes in Swift’s discography and devising a project of their choosing. Jimenez said the course is “interested in how Swift and other songwriters construct narratives in their songs,” and successful students will be able to “synthesize common themes” in Swift’s work.

UC Berkeley

Name of class: “Artistry & Entrepreneurship: Taylor’s Version”

Professor: Crystal Haryanto, a Cal economics graduate, formulated the class and will co-teach it with current students. She graduated from Berkeley in spring 2023 after studying economics, cognitive science and public policy. A dedicated Swiftie, Haryanto’s favorite album is “Speak Now (Taylor’s Version).”

What’s on the syllabus? The course is a DeCal, or a student-led course undergraduates can enroll in for credit. “It will be a cross section of literature, economics, business and sociology and I think that we’re studying her impact as an artist, as a whole,” Haryanto told NBC Bay Area. The upcoming course has generated so much interest that the course leaders introduced an application process to determine enrollment. Prospective students will have to answer a few questions to make the cut, including, “If you could have a 10-minute version of any Taylor Swift song, what would it be and why?” In addition to exploring her lyricism, the syllabus also includes sections on Swift’s business and marketing strategies, cultural impact, and the success of the “Eras Tour.”

Amount of Swiftie knowledge required: “You don’t need to be a Swiftie to enroll, but don’t say I didn’t, say I didn’t warn ya. You just might become one!” a disclaimer on the course website said .

How you’d get an A: The objectives of the course include identifying “how art and authenticity create enduring value and a viable enterprise,” according to the site. Coursework will include interactive lectures, readings and a final project. Students will be graded on their ability to engage with performance and interview clips, discuss Swift’s portrayal in the media, and write about the role she plays in society. “We’ll put her under scrutiny, but handle it beautifully,” the syllabus states .

Kaetlyn Liddy is a newsroom coordinator for NBC News Digital.

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Taylor Swift performs during the “Eras” tour.

AP Photo/George Walker IV

Christina Pazzanese

Harvard Staff Writer

Experts weigh in on her fanbase loyalty, skills as songwriter, businesswoman as her albums, tours break financial, popularity records

Whether you’re a fan of Taylor Swift or not, it’s hard to deny the cultural and financial juggernaut the pop superstar has become this year. Her album “Midnights,” released in late 2022, was the year’s top-seller at 1.8 million copies, twice that of the second-biggest by Harry Styles. Her latest, “Speak Now (Taylor’s Version),” debuted in July at No. 1, giving Swift her 12th in the top spot, surpassing Barbra Streisand for the most No. 1 albums by a woman artist.

Swift’s 131-date “Eras” world tour, currently packing stadiums across the U.S., is on track to be the highest-grossing concert tour of all time, at $1.4 billion, when it ends next year. Analysts estimate the tour will also have a total economic impact from tour-related spending of $5 billion on host cities. Even the Federal Reserve noted the effect her tour is having on regional economies.

To better understand the Swift phenomenon, the Gazette asked some Harvard and Berklee College of Music faculty to assess her artistry, fan base, the tour’s economic impact, and her place in the industry. Interviews have been edited for clarity and length.

‘Very few people have her songwriting talent’ Stephanie Burt, poet and Donald P. and Katherine B. Loker Professor of English

Gazette: How good is Swift as a songwriter?

Burt: She has a terrific ear in terms of how words fit together. She has a sense both of writing songs that convey a feeling that can make you imagine this is the songwriter’s own feelings, like in “We Are Never Ever Getting Back Together,” and a way of telling stories and creating characters. She can write songs that take place at one moment, and she can write songs where the successive verses give you a series of events, like in “Betty” or “Fifteen.”

She has a lot of different gifts as a songwriter, both at the macro level, how the song tells a story or presents an attitude, and at the micro level, how the vowels and consonants fit together, and she’s able to exercise that range, along with quite a lot of melodic gifts, and in a way that does not make her seem highbrow or alienate potential audience members. I would not be surprised to discover that her body of songwriting altogether had a larger number of words than any body of comparable hit songs by a comparable songwriter, except for someone like Bob Dylan.

One of the things that’s really remarkable for me about her is that harmonically, she’s not usually that interesting. It’s pretty normal pop chord progressions and pretty standard varieties of pop arrangement. Her great genius and her innovations and her brilliance as a songwriter is melodic and verbal. And, of course, she’s also very good at singing, which is not to be sneezed at. But she’s able to do that within the fairly tight constraints of existing, easily recognizable chord progressions and rhythmic setups.

She’s able to create verbal hooks, “I’m only 17. I don’t know anything, but I know I miss you.” They stick in your mind, and you spin stories out from them. That’s just being a good writer. She’s a celebrity with a complicated personal life that has been lived in the public eye for quite some time, and so, people speculate about the meanings of her songs, both because they are complex and meaningful works of art, and because some of them do speak to public facts about her life outside the songs.

“Fifteen,” which is a terrific song, gains resonance if you know that it’s about a real person and they’re still friends. But no one would care if it weren’t a brilliantly constructed song. Take something from “Speak Now”: It’s nice to know that “Dear John” is about John Mayer, who really had no business dating a 19-year-old, but it’s also a song about a pattern [of behavior], and it works in itself.

There’s all kinds of celebrity gossip about pop stars who maybe have her level of vocal talent and performing talent but happen not to have her level of songwriting talent. Very few people have her songwriting talent.

Gazette: Which songs would you count among your very favorites?

Burt: There’s so many good songs. I find the ones that speak to me the most are the ones whose topics are closest to my own life. I’m a queer lady. She writes wonderful songs about falling in love or falling out of love with various guys. Those are not, by and large, my favorites even though they’re some of her biggest hits. “Fifteen,” “Betty,” “seven,” “It’s Nice to Have a Friend.”

I actually really like “The Last Great American Dynasty.” The two indie folk albums [“Folklore” and “Evermore”], almost everything on them is amazing. It’s so hard to sustain that level of success artistically while changing that much. Few can do it. “Nothing New” is amazing. “Anti-Hero,” which is the big hit from “Midnights,” is an absolutely fantastic and extraordinarily self-conscious song about being the kind of celebrity that she’s become.

4 albums in Billboard top 10

Taylor Swift is the only living artist to have four albums in the Billboard top 10 at the same time since Herb Alpert in 1966. Following his death in 2016, Prince had five albums in the top 10. (Swift is the only woman with four albums in the top 10 at the same time since the Billboard 200 was combined from its previously separate mono and stereo album charts into one all-encompassing list in August of 1963.)

Source: Billboard

‘Strong social and emotional bond that people feel with her’ Alexandra Gold , clinical fellow in psychology at MGH and Harvard Medical School

Gazette: Swift appears to have a devoted fan base who feel intensely connected to her and her music. Why is that?

GOLD: There is a strong social and emotional bond that people feel with her. And in general, when people become super fans or part of the fandom, it’s often because there’s something about the object of that fandom, the public figure or celebrity, that does connect back to their identity in some way. That’s often the link.

In the case of Taylor, there’s a couple of things going on. The first piece is relatability. Even though there’s aspects of her that maybe don’t feel very relatable — she’s a celebrity and lives a very different life from her fans — what she is singing about — the lyrical content as well as the emotions that underlie the lyrical content — are very relatable to a lot of people. There’s something that is very common to the human experience.

Another piece is a lot of Millennials, as well as Gen Z now, are fans of Taylor Swift. With the Millennials, a lot of people grew up alongside her. When they were having some of these first experiences, maybe with relationships or entering adulthood, she was doing that at the same time and singing about that. Her life story mapped onto their life story, in some way.

For Gen Z, during the pandemic, there was a lot of TikTok content about her, she was putting out many albums, so a new generation discovered her, and they’re also having similar experiences. Overall, she’s been really important for identity development and growth for a lot of people.

@taylorswift That’s my whole world 💕 #tstheerastour #swifttok ♬ So it goes x Miss Americana – 🪩

A third piece is aspirational. She is a role model. She is a great example of someone who sticks to their values and shows their fan base that they can reach their goals, whatever those might be. For instance, she’s claiming ownership of her work and has been successful in putting out re-recordings [of her older albums] and doing that despite barriers or obstacles that might be in the way. Seeing someone do something like that could be inspiring for a lot of young people.

And then, lastly, the fan community is a big part of this. People often form their identity around relationships not just with a celebrity, but also with other fans. The fan community that Taylor has around her, people meet their friends through it and people become part of something bigger than themselves. That is really important for them as they grow up and as they go through life.

Gazette: Swift has had to tell some fans to stop harassing people she once dated. Where’s the line between fan and fanatic?

GOLD: I think fandoms are, overall, very positive. That is an important message, that being a fan is a very positive thing. It’s important to be aware of when it’s interfering in other aspects of one’s life — not engaging in other areas that might be important, other relationships, whether time spent online is causing anxiety or stress or negative feelings for people. Trying to defend Taylor against other celebrities, for instance, that’s when it maybe goes into a category of “OK, let’s take a step back and think about what we can do to bring this back to a place where it feels more positive.” Recognize while this is a relationship that’s important to you, it’s not a friendship. And so, if someone starts to feel like there’s a two-way relationship when there’s no evidence that’s happening, that’s also something to be aware of.

‘The kinds of gains you see in an event like a Super Bowl’ Matthew Andrews , Edward S. Mason Senior Lecturer in International Development at Harvard Kennedy School

GAZETTE: You and some colleagues examined the effects on cities and regions hosting mega events. The total economic impact to host cities of Swift concerts on her current tour is expected to hit $5 billion. Does that sound plausible?

ANDREWS: Those numbers, I think, are completely accurate. I would be in agreement with those numbers because those are the kinds of gains you see in an event like a Super Bowl. The thing that is so amazing about the Taylor Swift concert, in particular, is that it goes from city to city, and you see the same kind of impact in city after city. You do see it with some other musicians, as well. But this is something that’s on a scale and a consistency that we haven’t really seen before.

Swift’s 131-date “Eras” world tour, currently packing stadiums across the U.S., is on track to be the highest-grossing concert tour of all time. Pictured is a June show at Acrisure Stadium in Pittsburgh.

Benjamin B. Braun/Pittsburgh Post-Gazette via AP

Gazette: Which industries typically benefit when a major concert tour or sporting event takes place?

ANDREWS: The main beneficiaries in the private sector are people involved in tourism and the support network around the entertainment industry, so it is going to be hotels, restaurants, tourism agencies. It’s going to be anything to do with transportation hubs. They are going to be the primary beneficiaries.

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The costs to the public sector can be quite significant. And the cost for people in these areas who are not directly benefiting can be quite significant in terms of congestion, use of roads, just wear and tear, in terms of policing. This is a really important one — the cost of public order. Unless the government really thinks this through and charges for this as part of its permitting process, the government can end up on the short end after these kinds of events.

The other thing about these events that is increasingly attracting attention, from a public policy perspective, are climate change concerns. You have many, many people transporting themselves to a small area and a lot [are] coming through the air and through vehicles. This is something we worry about a lot more with prolonged mega events like a World Cup than with something like a Taylor Swift concert, but you do need to think about what those costs are.

‘Standing up for … rights and doing good business’ Ralph Jaccodine , assistant professor of music business/management, Berklee College of Music

GAZETTE: What are the factors that make Swift a successful performer from an industry perspective?

Jaccodine: First of all, if you’re going to talk about Taylor Swift, you’ve got to talk about the power of great songs. It all starts with the power of great songs. That’s why we’re still listening to The Beatles, and Bob Dylan, and Frank Sinatra. And like Bowie and Gaga and Dylan, she’s not afraid to stretch. She’s not afraid to bring her audience for a ride. We’ve seen her grow up in real life, from a young girl to a woman with power, and she’s owning it.

Number two, and this is really important: You’ve got to be great live. My students come to me and say, “We have 53 likes on this video, and we’re not selling tickets.” They don’t understand the power of going in front of people and blowing them away. In my business, as a manager, 80 percent of the income comes from live performances, so I want them to change lives live. I’m a massive Springsteen fan. I’m going to be seeing Springsteen at Gillette. I’ve seen him 12 times. I don’t need to see Bruce anymore. I’m an old guy, but I’m still going to rock concerts for artists to change my life. Taylor Swift’s songs, combined with how great she is live, is a powerful combination.

She’s always had a good team around her, smart people around her, good publicists, and good management. When you’re that good, you have the best in the industry. Her team is great: They build anticipation; they create a buzz about things. She’s imprinted her fans in such a way that they want everything about her. The day before a big stadium show, the T-shirt stand is open and there’s thousands of people in line. They hang on to every word of her social media posting, look at all the pictures. They share it; they talk about it; they have groups. That’s really hard to pull off.

GAZETTE: Has her advocacy for better artist compensation from streaming platforms and record labels and her fight to reclaim control of her back catalog made a difference?

Jaccodine: Absolutely. First, in the awareness of these topics. The general music fan isn’t aware of streaming revenues or master rights or re-recording rights. They don’t know or really care, but she shines a light on all these things. She shines a light on management contracts and what labels are or what labels aren’t. The whole master recordings topic has been spotlighted by Taylor. She had the budget and the resources and the talent to re-record things. The whole exercise was done in public; the whole exercise was reported on. So now, students are studying that, and they’re questioning that for the first time.

I do know she’s empowered and imprinted serious numbers of people that are fans of music or musicians themselves because of her influence. I look at Rihanna; I look at Beyoncé; I look at Taylor Swift. These are the biggest artists on the planet. They’re all women that are empowering girls and standing up for their rights and doing good business. I love it; I love it.

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Taylor Swift - Free Essay Examples and Topic Ideas

Taylor Swift is one of the world’s leading recording artists, she is known for narrative songs about her personal life. Taylor Alison Swift was born in Reading, Pennsylvania, and lived on a Christmas Tree Farm. She was the granddaughter of a professional opera singer, where she gained her love for music.

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Writing an essay about Taylor Swift, an internationally renowned singer-songwriter and philanthropist, can be a rich and exciting task. As one of the most influential artists of her generation, Swift’s life, music, and activism provide a plethora of potential angles to explore. Below is a step-by-step guide on how to craft a compelling essay about Taylor Swift, and how professional help can enhance your research and writing process.

Begin with Research

Start by thoroughly researching Taylor Swift’s life and career. Study her biography, discography, philanthropic efforts, and public appearances. Read interviews and articles about her, and listen to her music to gain a deeper understanding of her evolution as an artist. Primary sources such as her albums, music videos, and social media posts can provide direct insights into her persona and work.

Define the Thesis

Choose a specific angle or thesis for your essay. For example, you might want to focus on her evolution as a songwriter, her impact on the music industry, her advocacy for artists’ rights, or her philanthropic efforts. Make your thesis statement clear, concise, and arguable.

Organize Your Points

Outline the main points and evidence you plan to use in your essay. Organize these into a logical structure, with an introduction, body paragraphs, and a conclusion. Ensure that each point builds on the previous one and supports your thesis.

Write and Revise

Begin writing your essay with a strong introduction that introduces Taylor Swift and presents your thesis. In the body of your essay, present your points clearly and support them with evidence. Conclude by summarizing your main points and restating your thesis in a new light. After writing, take the time to revise and polish your essay until it is clear, coherent, and error-free.

Cite Your Sources

Remember to properly cite all of the sources you used during your research. Whether it’s an interview, an album, or a news article, accurate citation is crucial to avoid plagiarism.

Seek Professional Assistance

If you find yourself needing assistance with your essay or research paper about Taylor Swift , consider reaching out to StudyMoose experts. Their professional writing services can guide you through the entire process, from selecting a unique angle and crafting a strong thesis to organizing your points and polishing your final draft. With StudyMoose, you gain access to a team of skilled writers with extensive experience in producing high-quality, original essays tailored to your specific needs and academic standards. They can help turn your ideas about Taylor Swift into a compelling, well-researched essay that stands out.

Proofread and Edit

Finally, after your draft is complete, proofread it meticulously. Check for grammatical errors, awkward phrasing, and clarity. Consider asking a friend or family member to read your essay and provide feedback.

By following this guide, you will be well on your way to writing a thoughtful and compelling essay about Taylor Swift. Whether you are exploring her evolution as an artist, her influence on the music industry, or her commendable philanthropic initiatives, your essay will be enriched by detailed research, a clear thesis, and organized arguments.

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Taylor Swift Essay Examples

Reflection on the song soon you’ll get better by taylor swift.

Ever since I was a little girl, my grandfather and I had a special bond. We would watch baseball games, play hide-and-seek, and go out to eat together. He always attended my dance recitals, singing performances, and school plays. My grandfather is unforgettable. His eyes...

Taylor Swift: a Journey Through Music and Influence

Taylor Swift, born on December 13, 1989, in Reading, Pennsylvania, has left an indelible mark on the world of music and popular culture. From her humble beginnings as a country artist to her evolution into a global pop sensation, Swift's career has been nothing short...

Analyzing the Empowering Message of "The Man" by Taylor Swift

Known as one of the best music writers of the past decade, continuing to break world records for downloads and sold out arenas, Taylor Swift has been at the forefront of the music industry for quite some time. With seven records under her belt, four...

Role and Impact of Social Media in PR: Taylor Swift

The use of social media is one of the best strategies to reach out to potential clients in the music industry. The case presented shows how Taylor Swift uses social media to remain relevant and competitive in the industry. She uses the media differently from...

Comparison of "The Scientist" by Coldplay and "Bad Blood" by Taylor Swift

Music is one of the important entertainment elements in our lives; it has the ability to deliver positive messages to the audiences as it become a good way of communication it has been found in every culture in present time, as there are various types...

Taylor Swift Through the Lens of Semiotics and Marxism

Known as the young and promising country singer with a sweet girl-next-door persona; now coined as the “Queen of Snakes”, following her feud with several other celebrities such as Katy Perry and Kanye West, Taylor Swift is probably considered as one of the artists who...

Exploring the Life Story: Taylor Swift and Her Rise to Fame

Stars don't come bigger than Taylor Swift who has since come a long way from her days as a little girl who had moved from her birthplace of Reading, Pennsylvania to Nashville, Tennessee to better her chances at succeeding at a musical career. That was...

Taylor Swift: Influencing Her Audience

Influencers today do not have a clue about what they convey to their audience, some do not realize that their immature messages can then affect adolescent teens. Taylor Swift is best known for her successful journey as a country/pop singer. Her powerful lyrics, messages, and...

The Peculiarities of Taylor Swift's 'Bad Blood'

‘Bad Blood’ is a music video produced by Taylor Swift. Taylor Swift is a multi-genre artist who started in country music and moved into mainstream pop. The main story line in the video is two teams preparing to go to fight. Throughout her music video...

The Similarities of the Four Seasons by Antonio Vivaldi and Shake It Off by Taylor Swift

The composition, “The Four Seasons,” by Antonio Vivaldi is a well-known composition in the 1700s. Today, the pop song, “Shake it off,” by Taylor Swift is a well-known song in the current generation. These two opposing styles of music conflict in this current time period...

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About Taylor Swift

Born December 13, 1989 (age 32), West Reading, Pennsylvania, U.S.

American singer-songwriter, she has been also referred to as one of the greatest songwriters of all time and the best of her generation by various publications and organizations.

Pop, country, folk, rock, alternative.

11 Grammy Awards, an Emmy Award, 34 American Music Awards, 29 Billboard Music Awards and 58 Guinness World Records.

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