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Powers of music: A psychoanalytic d...

Zigaran, Marcelo.

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Powers of music: A psychoanalytic discussion of music and meaning.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Powers of music: A psychoanalytic discussion of music and meaning./
作者:	Zigaran, Marcelo.
面頁冊數:	83 p.
附註:	Adviser: Cynthia Freeland.
Contained By:	Dissertation Abstracts International68-04A.
標題:	Music. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3261580

Powers of music: A psychoanalytic discussion of music and meaning.
Zigaran, Marcelo.

Powers of music: A psychoanalytic discussion of music and meaning. - 83 p.

Adviser: Cynthia Freeland.

Thesis (D.M.A.)--University of Houston, 2007.

This study is an interdisciplinary investigation of music and meaning using the framework of psychoanalysis. Within this framework, the study will also reflect the perspective of the performer. It will address questions such as: What is the power of music? Why, for many of us, is music of such importance as to give meaning to our lives? Ultimately, what does it mean to give a meaningful performance?Subjects--Topical Terms:

516178
Music.

Powers of music: A psychoanalytic discussion of music and meaning.
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500 $a Source: Dissertation Abstracts International, Volume: 68-04, Section: A, page: 1228.
502 $a Thesis (D.M.A.)--University of Houston, 2007.
520 $a This study is an interdisciplinary investigation of music and meaning using the framework of psychoanalysis. Within this framework, the study will also reflect the perspective of the performer. It will address questions such as: What is the power of music? Why, for many of us, is music of such importance as to give meaning to our lives? Ultimately, what does it mean to give a meaningful performance?
520 $a The general structure of the dissertation is laid out in three main chapters. The first chapter deals with Julia Kristeva's work and its relation to music. This chapter focuses on aspects of musical and artistic creativity that are closely related to the pre-oedipal phase. To perform a musical work is for many of us, an attempt to express in our own way what the composer wrote; but this leads to the question, is music a language?
520 $a The second chapter elaborates on Alain Didier-Weill's contribution to the understanding of music in relation to the "subject", as it is called in psychoanalytic jargon, considering music, sound and their relevance in our human constitution. Didier-Weill describes music as the expression of a drive. I focus on his concepts of the "Blue note" and "the invocative drive", terms that I explain in detail.
520 $a The third chapter discusses musical aesthetics, summarizing how insights from psychoanalysis in the previous two chapters can be related to the aesthetics of music. Through the study of philosophers, theorists, and musicians, I present an account of aesthetics as no longer simply a "theory of nice feelings" (as Hegel put it) but a complex philosophy of art. This thesis stresses the point that psychoanalysis presents us with a new way of looking at things. It is in this way the departure point for an aesthetic revolution, in the sense of a new account of what we hear (and see) in the world. We can then decide in a different way what belongs to art and what does not, arriving at a new regimen of the sensible.
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