By Dan Sapen, David Liebman, John Peck
'This is a well timed and demanding booklet at the courting of psychoanalysis and song. Its power derives from Sapen's command of either fields. utilizing psychoanalytic theorists akin to Bion, Winnicott, Loewald, Meltzer, and Rycroft, Sapen maps a wealthy suggestion of the subconscious as artistic procedure. He then applies that idea to jazz, with certain recognition to the good paintings of Miles Davis and John Coltrane. prior psychoanalytic reports of song have focussed on classical tune. Sapen makes out a super case for jazz because the musical idiom that provides the richest probabilities for an paintings able to exploring the dynamics of the subconscious. The booklet shimmers with clean insights, either into psychoanalysis and into song. A seminal work.'-Walter A. Davis, Professor Emeritus within the division of English at Ohio kingdom University.'A significant exploration of the interface and intermingling of track and psychoanalysis. Sapen, a therapist-musician, brings out what track can do for psychoanalysis, not only what psychoanalysis can say approximately track. tune informs psychoanalysis, performs a task in rhythms of resonance and reaction, and lots more and plenty extra. Jazz enthusiasts won't are looking to pass over what he says approximately Coltrane and Miles. Relational therapists will take pleasure in his amplifications of Steven Knoblauch, one other psychologist-musician. Sapen spans a wealthy panoply of psychoanalytic writings, together with Winnicott and Bion, to mine important threads within which tune and psychoanalysis meld. Sapen's experience of good looks and rhythm contact many chords.'- Michael Eigen, writer of touch with the Depths and Kabbalah and Psychoanalysis'I am dazzled by way of how good Sapen articulates the subtleties of the analytic procedure and its reasons, and into the character, technical elements, and multidimensional dynamics of improvisational tune and their relevance to the query of emergent realization. Few if any writers in my adventure have proven both the perception or caliber of prose to deal so lucidly with those concerns, not to mention simultaneously.'- Lee Underwood, Musician and writer; former West Coast united states editor of Downbeat; contributing journalist to Rolling Stone and the la instances
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Extra resources for Freud’s Lost Chord: Discovering Jazz in the Resonant Psyche
Example text
Many such revolutionary developments were, in fact available during Freud’s later period; yet he made little use of them, or of the insight they offer the psychologist into the natural world and human creativity. Post-Freudian developments, in parallel and in concert with insights into the roles of creativity and spirituality, illuminate that which nourishes and synthesizes the faculties of mind. Bion shows us that we dream not simply to remain asleep by temporarily granting wishes and discharging tensions, but MAKING SPACE FOR MUSIC AND MYTH 15 so that we may become conscious in the first place (Bion, 1967).
Campbell, 1993, p. 249) Patients and analysts are constantly using different terms to describe situations that appear to have the same configurations. (Bion, 1965, p. 124) One of Bion’s solutions to the routine effects of demythologization was to use the languages of mathematics and logic to represent the invariant configurations of phenomena––mental contents and statements about them––which manifest in the various terms we use to describe the infinity of particular situations. Bion’s emphasis on geometry highlights the issue of the configuration of experience, that is, the relation of mental objects to one another and to the whole which they constitute.
This a priori narrative coherence mobilizes day residues not in order to disguise chaotic and disturbing wishes, but in order to manifest and symbolize inchoate and vital configurations of dream thoughts in pictorial and narrative form. The temporal complexity of the dream indicates BEYOND REPRESSION, INTO EROS 39 the unconscious effort to weave experience into a unifying and progressive pattern. Deferred revision and the manifestations of time Music is an art whose medium is time. Time, much like libido, is mostly known in Freudian terms by its distortions, detours, and ruptures.