New PDF release: Melodies of the Mind: Connections between psychoanalysis and

By Julie Jaffee Nagel

What can psychoanalysis study from tune? What can tune study from psychoanalysis? Can the research of song itself offer a major resource of mental data?

Drawing on Freud's notion of the oral highway to the subconscious, Melodies of the brain invites the reader to take a trip on an aural and oral street that explores either song and emotion, and their hyperlinks to the subconscious. during this publication, Julie Jaffee Nagel discusses how musical and psychoanalytic thoughts tell one another, exhibiting the ways in which track itself presents a good non-verbal pathway to emotion – a resource of 'quasi' psychoanalytical medical information. The interdisciplinary synthesis of track and psychoanalytic wisdom offers a schema for figuring out the complexity of an individual's internal global as that international interacts with social 'reality'.

There are 3 major components explored:

* The Aural Road

* Moods and Melodies

* The Aural/Oral highway much less Travelled



Melodies of the Mind is an exploration of the facility of tune to maneuver us whilst phrases fall brief. It indicates the price of utilizing tune and ideas of the brain to higher comprehend and deal with mental, social, and academic matters which are appropriate in daily life. it is going to be of curiosity to psychoanalysts, psychologists, track therapists, musicians, tune academics, track students, social employees, educators, execs within the humanities and social companies in addition to track lovers.

<STRONG>Julie Jaffee Nagel is a graduate of The Juilliard institution, The collage of Michigan, and The Michigan Psychoanalytic Institute. She is at the college of the Michigan Psychoanalytic Institute and is in inner most perform in Ann Arbor, Michigan.

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Additional resources for Melodies of the Mind: Connections between psychoanalysis and music

Example text

There is much to gain in the consulting room by tuning in to the patient’s musical associations and experiences and the analyst’s reactions to them. Sonic signifiers inherent in music have the capacity to evoke latent fantasies, screen memories, and bodily sensations which in turn can link the psychic past with the present, affect with idea, feeling (including preverbal and prerepresentational) with meaning. Aren’t these part of the goals of our clinical work? Music as psychoanalytic data Notably absent in the psychoanalytic literature is the analysis of music itself from psychoanalytic perspectives.

943). Yet at the same time that Freud discounted his acoustic sensibilities, he was reading “The Relationships Between Sounds” in Grundtatsachen (1883) by Theodore Lipps (1851–1914), a respected German philosopher who had written Fundamentals of Psychic Life. Freud was an admirer of Lipps and admitted to Fliess in an 1898 letter that “I found the substance of my insights stated quite clearly in Lipps, perhaps rather more so than I would like” (Masson, 1985, p. 325). Lipps made connections between psychic functioning, empathy, and particularly sound as the underpinning of psychic life.

Aside from his interest and respect for Lipps’s work, Freud was closely connected with noted musicologist/historian Max Graf in Vienna. 1 As a close colleague and friend, Graf was a trusted and valued member of Freud’s inner circle. In 1902, Graf was invited to join Freud’s Wednesday Night Psychoanalytic Society meetings, where he was responsible for “investigating the psychology of great musicians and the process of composing music utilizing psychoanalysis for this task” (Graf, 1942, p. 470). Freud heard Graf’s innovative treatises on Beethoven and Wagner during these meetings, although at that point he was more interested in Graf as the father/analyst of “Little Hans” (Max’s son, Herbert (Little Hans), subsequently became music director at the Metropolitan Opera in 1936).

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