“…I am in agreement with Twemlow (2009), who sees a "major potential leadership role for psychoanalysts in the solution of community and social problems" (p. 93), and with Tylim (2009), who advocates for a psychoanalytic attitude toward cultural institutions. The latter maintains that "at the turn of the twentieth century, the need for psychoanalytic contribution to the global community has ceased to be considered a violation of analytic neutrality, and applied psychoanalysis is in the process of losing its status as step-child of our discipline.…”
Section: " S O M E H O W S O M E D Ay S O M E W H E R E "supporting
The poignant and timeless Broadway musical West Side Story is viewed from the standpoint of taking musical forms as psychoanalytic data. The musical configuration of notes called the tritone (or diabolus in musica) is taken as a sonic metaphor expressing ambiguity both in musical vocabulary and in mental life. The tritone, which historically and harmonically represents instability, is heard throughout the score and emphasizes the intrapsychic, interpersonal, and social dramas that unfold within and between the two gangs in West Side Story. Particular emphasis is given to the comic but exceedingly sober song Gee, Officer Krupke. Bernstein's sensitivity to the ambiguity and tension inherent in the tritone in West Side Story is conceptualized as an intersection of music theory and theories of mind; this perspective holds implications for clinical practice and transports psychoanalytic concepts from the couch to the Broadway stage and into the community to address the complexities of love, hate, aggression, prejudice, and violence. Ultimately, West Side Story cross-pollinates music and theater, as well as music and psychoanalytic concepts.
“…I am in agreement with Twemlow (2009), who sees a "major potential leadership role for psychoanalysts in the solution of community and social problems" (p. 93), and with Tylim (2009), who advocates for a psychoanalytic attitude toward cultural institutions. The latter maintains that "at the turn of the twentieth century, the need for psychoanalytic contribution to the global community has ceased to be considered a violation of analytic neutrality, and applied psychoanalysis is in the process of losing its status as step-child of our discipline.…”
Section: " S O M E H O W S O M E D Ay S O M E W H E R E "supporting
The poignant and timeless Broadway musical West Side Story is viewed from the standpoint of taking musical forms as psychoanalytic data. The musical configuration of notes called the tritone (or diabolus in musica) is taken as a sonic metaphor expressing ambiguity both in musical vocabulary and in mental life. The tritone, which historically and harmonically represents instability, is heard throughout the score and emphasizes the intrapsychic, interpersonal, and social dramas that unfold within and between the two gangs in West Side Story. Particular emphasis is given to the comic but exceedingly sober song Gee, Officer Krupke. Bernstein's sensitivity to the ambiguity and tension inherent in the tritone in West Side Story is conceptualized as an intersection of music theory and theories of mind; this perspective holds implications for clinical practice and transports psychoanalytic concepts from the couch to the Broadway stage and into the community to address the complexities of love, hate, aggression, prejudice, and violence. Ultimately, West Side Story cross-pollinates music and theater, as well as music and psychoanalytic concepts.
“…I concur with him, as well as with Stuart Twemlow (2009), who sees a "major potential leadership role for psychoanalysts in the solution of community and social problems" (p. 93). I also applaud Isaac Tylim (2009), who advocates for a psychoanalytic attitude toward cultural institutions. He maintains that "at the turn of the twenty-first century, the need for psychoanalytic contribution to the global community has ceased to be considered a violation of analytic neutrality, and applied psychoanalysis is in the process of losing its status as step-child of our discipline.…”
Section: B a C K T O T H E F U T U R E : B E Yo N D A G E A D A G Ementioning
MELODIES IN MY MIND: THE POLYPHONY OF MENTAL LIFED elivering the Gertrude and Ernst Ticho Memorial Lecture today is a deeply personal honor and a professional milestone. To be respected by colleagues, appreciated by friends, and loved by one's family is sufficient reward for anyone. Today I have the additional privilege of sharing with you my thoughts about music and psychoanalysis. The Ticho Lectureship acknowledges early-to mid-career psychoanalysts; this recognition raises an interesting paradox. Implied in the designation "early-to mid-career" is the notion that a person younger than myself would receive this award. In the context of age and career, when I talk with analytic colleagues, of all ages and from various cities (and also when reading data in the report on APsaA's 2006 Survey of Analytic Practice [Brauer, Brauer, and Falk 2008] before the recent recession), questions are raised about the average age of analysts, attracting candidates, unwelcome open hours in analytic schedules, and compromised incomes. My musician colleagues (supported by recent data from the National Endowment for the Arts) express concern about "graying audiences" and the future of classical music. (For clarification, I use the term classical music in this paper to refer to tonal, harmonic music in the Western compositional tradition. West Side Story, the focus of my musical example later in my lecture, is steeped in that tradition.) Qualms about the future of psychoanalysis and the diminishing concert-attending public are not based in illusion; both concerns reflect realities and anxieties but also challenges and opportunities, regardless of birthdates and stages in a career. While there are nonclassical musics and various approaches to psychoanalytic practice, the questions remain:
“…We applaud Isaac Tylim (2009), who advocates for the development of a psychoanalytic attitude toward cultural institutions. Tylim maintains that:…”
mentioning
confidence: 99%
“…We applaud Isaac Tylim (), who advocates for the development of a psychoanalytic attitude toward cultural institutions. Tylim maintains that: At the turn of the twenty‐first century, the need for psychoanalytic contribution to the global community has ceased to be considered a violation of analytic neutrality, and applied psychoanalysis is in the process of losing its status as step‐child of our discipline … .…”
In the opening decades of the twenty-first century, we have experienced a loss of focus on internal life and its underlying meanings in our tumultuous social, political, artistic, and economic milieu. Demand for quick fixes for long-standing emotional, political, economic, and social problems have had far-reaching effects on American society and around the world. Recent Federal initiatives in the United States emphasize detailed study of brain function without a call for better understanding of the functions of the mind in motivating mental illness and mental health. Popular trends in media reporting emphasize celebrity idealization and instant access to Internet insights which accentuate simplicity, quick answers, and sound bites. In higher education, many American university psychology and psychiatry departments have been jettisoned and/or minimized emphasis on psychodynamic ideas as a theory and treatment modality. We are in agreement with Prudence Gourguechon (2011) who calls this a "public health crisis . . . a national emergency of superficiality, of simplification of cause and effect, and of ignoring or trivializing the inner life" (p. 448). While it is not our intention here to explore contemporary crises in mental health, society, economics, politics, arts, and education in this issue, we do emphasize that music and psychoanalysis, with an emphasis on both manifest and latent meanings, are relevant to this discussion and are emphasized through the cumulative scholarship, wisdom, and implications of the articles in this volume. There is an intersection between theories of mind and theories of music which are implicated in how we tune in and hear ourselves and our surroundings (Nagel, 2013).Psychoanalytic and musical knowledge can contribute to many areas that impact human motivation, critical thinking, decision-making, and our quality of life while probing beneath external events and simplistic solutions to thorny and complex questions. Responsible and informed musical and psychoanalytic representatives, through writing, speaking, performing, and teaching can educate and advocate in a variety of arenas, many of them in non-traditional venues that reach beyond the concert hall and consulting room. For example, such representatives can provide in-depth perspectives about the human condition, about powerful affects and unconscious motivations, and can share multiple determined views on complex topics such as gender, poverty, war, Int. J. Appl. Psychoanal.
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