Psychoanalytic Perspectives on Music: an Intersection on the Oral and Aural Road

REFERENCES

• Abrams, D. (1993). Freud and Max Graf: on the psychoanalysis of music. In Psychoanalytic Explorations of Music, ed. S. Feder, R. Karmel & G. Pollock. Madison, CT: Int. Univ. Press, pp. 279–307.
   Google Scholar
• Adorno, T. (1952). In Search of Wagner, trans. R. Livingstone. London: Verso Books.
   Google Scholar
• Anderson, E. (1938). The Letters of Mozart and His Family. New York: Norton, 1966.
   Google Scholar
• Brakel, L. A. W. (2003). “Unusual” human experiences: Kant, Freud and an associationist law. Theoria et Historia Scientiarum, 7(2): 109–116.
   Google Scholar
• Cheshire, N. M. (1996). The empire of the ear: Freud’s problem with music. Int. J. Psychoanal., 77: 1127–1168.
   PubMed Web of Science ®Google Scholar
• Copland, A. (1957). What to Listen for in Music. New York: McGraw Hill.
   Google Scholar
• De Chumaceiro, Diaz C. L. (1993). Richard Wager’s life and music: what Freud knew. In Psychoanalytic Explorations of Music, ed. S. Feder, R. Karmel & G. Pollock. Madison, CT: Int. Univ. Press, pp. 249–278.
   Google Scholar
• Ehrenzweig, A. (1953). The Psychoanalysis of Artistic Vision and Hearing. London: Shelton Press, 1975.
   Google Scholar
• Epstein, D. (1993). On affect and musical motion. In Psychoanalytic Explorations of Music, ed. S. Feder, R. Karmel & G. Pollock. Madison, CT: Int. Univ. Press, pp. 91–123.
   Google Scholar
• Feder, S. (1990). Introduction. In Psychoanalytic Explorations in Music, ed. S. Feder, R. Karmel & G. Pollock. Madison, CT: Int. Univ. Press, pp. ix–xvii.
   Google Scholar
• Feder, S. (1993a). Mozart in D minor—or, the father’s blessing, the father’s curse. In The Pleasure and Perils of Genius: Mostly Mozart, ed. P. Ostwald & L. S. Zegans. Madison, CT: Int. Univ. Press, pp. 117–131.
   Google Scholar
• Feder, S. (1993b). “Promissory notes”: method in music and applied psychoanalysis. In Psychoanalytic Explorations of Music, ed. S. Feder, R. Karmel & G. Pollock. Madison, CT: Int. Univ. Press, pp. 3–19.
   Google Scholar
• Feder, S. (unpublished). Music as simulacrum of mental life. Paper precirculated at the Winter Meeting of the American Psychoanalytic Association, 2004.
   Google Scholar
• Freud, S. (1900). The Interpretation of Dreams. S. E., 4/5.
   Google Scholar
• Freud, S. (1909). Analysis of a phobia in a five-year-old boy. S. E., 10.
   Google Scholar
• Freud, S. (1914). The Moses of Michelangelo. S. E., 13.
   Google Scholar
• Friedman, S. M. (1960). One aspect of the structure of music. J. Amer. Psychoanal. Assn., 8: 427–449.
   PubMed Web of Science ®Google Scholar
• Graf, M. (1906). Richard Wagner und das dramatische Scaffen (Richard Wagner and Dramatic Creation). Oesterreichische Rundschau, 9: 111–121.
   Google Scholar
• Graf, M. (1910). Die innere Werkstatt des Musikers (The Workshop of a Musician’s Mind) Stuttgart, Germany: Verlag von Ferdinand Enke.
   Google Scholar
• Kerman, J. (1968). Verdi’s use of recurring themes. In Studies in Music History: Essays for Oliver Strunk, ed. H. Powers. Princeton, NJ: Princeton Univ. Press, pp. 495–509.
   Google Scholar
• Kohut, H. & Levarie, S. (1950). On the enjoyment of listening to music. Psychoanal. Q., 19: 64–87.
   Web of Science ®Google Scholar
• Langer, S. (1953). Feeling and Form. New York: Charles Scribner’s Sons.
   Google Scholar
• Lansky, M. (2007). Discussion of Dr. Julie Nagel’s paper “Psychoanalytic and musical perspectives on shame in Donizetti’s Lucia di Lammermoor.“ Paper presented at the American Psychoanalytic Association Meeting, June.
   Google Scholar
• Lawton, D. (1978). On the “Bacio” theme in Otello. Nineteenth-Century Music, 1(3): 211–220.
   Web of Science ®Google Scholar
• Lipson, C. (2006). The meanings and functions of tunes that come into one’s head. Psychoanal. Q., 75: 859–878.
   PubMed Web of Science ®Google Scholar
• Marshall, R. (1993). Bach and Mozart: styles of musical genius. In Psychoanalytic Explorations of Music, ed. S. Feder, R. Karmel & G. Pollock. Madison, CT: Int. Univ. Press, pp. 153–169.
   Google Scholar
• Masson, J. M., ed. & trans. (1985). The Complete Letters of Sigmund Freud to Wilhelm Fliess, 1887–1904. Cambridge, MA: Belknap Press/Harvard Univ. Press.
   Google Scholar
• McDonald, M. (1970). Transitional tunes and musical development. Psychoanal. Study Child, 25: 503–520.
   PubMedGoogle Scholar
• Nagel, J. J. (2007). Melodies of the mind: Mozart in 1778. Amer. Imago, 64(1): 23–36.
   Web of Science ®Google Scholar
• Nagel, J. J. (in press). Psychoanalytic and musical perspectives on shame in Donizetti’s Lucia di Lammermoor. Paper presented at the American Psychoanalytic Association Meeting, June 2007. J. Amer. Psychoanal. Assn..
   Google Scholar
• Nagel, J. J. & Nagel, L. (2005). Music, psychoanalysis, and animals. In The Cultural Zoo: Animals in the Human Mind and Its Transformations, ed. S. Akhtar & V. Volkan. Madison, CT: Int. Univ. Press, pp. 177–206.
   Google Scholar
• Nass, M. L. (1971). Some considerations of psychoanalytic interpretation of music. Psychoanal. Q., 40: 303–316.
   PubMed Web of Science ®Google Scholar
• Nass, M. L. (1990). The development of creative imagination in composers. In Psychoanalytic Explorations of Music, ed. S. Feder, R. Karmel & G. Pollock. Madison, CT: Int. Univ. Press, 1993, pp. 267–283.
   Google Scholar
• Noy, P. (1966). The psychodynamics of music.10 J. Music Ther., 3: 126–134.
   Google Scholar
• Noy, P. (1967a). The psychodynamics of music. J. Music Ther., 1: 7–23.
   Google Scholar
• Noy, P. (1967b). The psychodynamics of music. J. Music Ther., 2: 45–51.
   Google Scholar
• Noy, P. (1967c). The psychodynamics of music. J. Music Ther., 3: 81–94.
   Google Scholar
• Noy, P. (1967d). The psychodynamics of music. J. Music Ther., 4: 117–125.
   Google Scholar
• Noy, P. (1993). How music conveys emotion. In Psychoanalytic Explorations of Music, ed. S. Feder, R. Karmel & G. Pollock. Madison, CT: Int. Univ. Press, pp. 125–149.
   Google Scholar
• Ostwald, P. (1990). Johannes Brahms—music, loneliness, and altruism. In Psychoanalytic Explorations of Music, ed. S. Feder, R. Karmel & G. Pollock. Madison, CT: Int. Univ. Press, 1993, pp. 291–320.
   Google Scholar
• Pratt, C. C. (1952). Music and the Language of Emotion. Washington, DC: U.S. Library of Congress.
   Google Scholar
• Rose, G. (1993). On form and feeling in music. In Psychoanalytic Explorations of Music, ed. S. Feder, R. Karmel & G. Pollock. Madison, CT: Int. Univ. Press, pp. 63–81.
   Google Scholar
• Rose, G. (2004). Between Couch and Piano. New York: Brunner-Routledge.
   Google Scholar
• Sachs, H. (1945). Freud, Master and Friend. London: Imago Publishing.
   Google Scholar
• Stein, A. (2004). Music, mourning and consolation. J. Amer. Psychoanal. Assn., 52: 783–811.
   PubMed Web of Science ®Google Scholar
• Stein, A. (2007). The sound of memory. Amer. Imago, 64: 59–85.
   Web of Science ®Google Scholar
• Verdi, G. (1887a). Otello. Libretto by A. Boito, trans. W. Ducloux. New York/London: G. Schirmer Opera Score Edition, 1962.
   Google Scholar
• Verdi, G. (1887b). Otello in Full Score. Orchestral score. New York: Dover Publications, 1986.
   Google Scholar
• Verdi, G. (1887c). Otello. Metropolitan Opera. J. Levine. With P. Domingo, R. Fleming & J. Morris. 1995. Deutsche Grammophon, DVD.
   Google Scholar