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The relationship between psychoanalysis and music is as old as the history of psychoanalysis itself. Psychoanalysts have examined musical phenomena, and the relationship has been reciprocal, as also musicologists have applied psychoanalysis to their work. Music therapy, too, has utilized psychoanalytic theories. ==History== Sigmund Freud discussed shortly some musical phenomena in his book ''The Interpretation of Dreams'' (1900), but he was more interested in other arts, especially literature and the visual arts. Freud’s attitude toward music was ambivalent. Freud described himself as being "ganz unmusikalisch" (totally unmusical).〔Freud, S. (1936) Letter to M. Bonaparte, 06.12.36. In letters of Sigmund Freud, 1873-1939.〕 Despite his much-protested resistance, he could enjoy certain operas such as ''Don Giovanni'' and ''The Marriage of Figaro'' and he used musical metaphors in the context of theory and therapy. Freud seemed to feel uneasy without a guide from the more rational part. To be emotionally moved by something without knowing what was moving him or why, was an intrinsically anxious experience.〔Roazen, P. (1975) Freud and his followers. Harmondsworth: Penguin books, 1979.〕 The operas he listened were "conversational" and "narrative" forms of music, which is theorized, provided him with some kind of "cognitive control" over the emotional impact of the musical sounds. Cheshire argued that maybe he was jealous and feared the potential therapeutic power of music as a rival to psychoanalysis.〔Cheshire, N. M. (1996) The empire of the ear: Freud's problem with music. ''International Journal of Psychoanalysis'', 77, 1127-1168.〕 It was up to other early psychoanalysts than Freud to initiate a serious psychoanalytic study of musical phenomena. First of them was the musicologist and critic Max Graf (1873–1958) who presented his views in the "Wednesday meetings" in 1905–1912. Among other pioneers was Desiderius (Dezső) Mosonyi (1888–1945) who published his writings in Hungarian and in German. The early views of music were reductive and romantic: the composer expresses him- or herself directly in a musical composition;〔Abrams, David M. (1993). Freud and Max Graf: On the Psychoanalysis of Music. — ''Psychoanalytic Explorations in Music. Second series'' (eds. Stuart Feder & Richard L. Karmel & George H. Pollock), pp. 279–307. International Universities Press, Madison.〕 the reception of music is regressive.〔Feder, Stuart — Karmel, Richard L. — Pollock, George H. (1990). Introduction. — ''Psychoanalytic Explorations in Music'' (eds. Stuart Feder & Richard L. Karmel & George H. Pollock), pp. ix–xvii. International Universities Press, Madison.〕 After 1950, psychoanalytical musicology started to flourish. Within a few years several studies were published by the French André Michel (1951), Ernst Kris (1952), Anton Ehrenzweig (1953), Theodor Reik (1953), and others. Theodor Reik (1888–1969) was one of Freud’s earliest students. Reik took up the theme of the "haunting melody" in Freud's Introductory Lectures on Psychoanalysis (1915–1917) to demonstrate, by contrast to Freud, that musical structure can represent feelings.〔Reik, Theodor (1953). ''The haunting melody: Psychoanalytic experiences in life and music'', p. 10.〕 In Reik's view, melody can convey emotion far better than words. Reik showed that music is the voice of the “unknown itself” that may become compulsive in its attempt to convey a secret message.〔Reik, Theodor (1953). ''The haunting melody: Psychoanalytic experiences in life and music'', p. 223.〕 Reik speculated that the reason unconscious material sometimes emerges as a melody rather than as mere thoughts may be that melody better indicates moods and unknown feelings.〔Reik, Theodor (1953). ''The haunting melody: Psychoanalytic experiences in life and music'', pp. 17–15.〕 He did demonstrate that songs on the mind could be effectively interacted with in a psychotherapeutic fashion in a way that helped resolve repressed conflict.〔Reik, Theodor (1953). ''The haunting melody: Psychoanalytic experiences in life and music'', pp. 9–10.〕 The flow of studies and articles from the latter part of the twentieth century was summarised in the two-volume essay collection ''Psychoanalytic Explorations in Music'' (1990–1993). 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Psychoanalysis and music」の詳細全文を読む スポンサード リンク
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