By Dan Sapen, David Liebman, John Peck
'This is a well timed and significant publication at the courting of psychoanalysis and song. Its energy derives from Sapen's command of either fields. utilizing psychoanalytic theorists equivalent to Bion, Winnicott, Loewald, Meltzer, and Rycroft, Sapen maps a wealthy inspiration of the subconscious as inventive approach. He then applies that idea to jazz, with specific recognition to the nice paintings of Miles Davis and John Coltrane. past psychoanalytic reports of tune have focussed on classical tune. Sapen makes out a super case for jazz because the musical idiom that provides the richest probabilities for an artwork able to exploring the dynamics of the subconscious. The booklet shimmers with clean insights, either into psychoanalysis and into track. A seminal work.'-Walter A. Davis, Professor Emeritus within the division of English at Ohio country University.'A excellent exploration of the interface and intermingling of track and psychoanalysis. Sapen, a therapist-musician, brings out what song can do for psychoanalysis, not only what psychoanalysis can say approximately track. tune informs psychoanalysis, performs a job in rhythms of resonance and reaction, and lots more and plenty extra. Jazz enthusiasts won't are looking to omit what he says approximately Coltrane and Miles. Relational therapists will have fun with his amplifications of Steven Knoblauch, one other psychologist-musician. Sapen spans a wealthy panoply of psychoanalytic writings, together with Winnicott and Bion, to mine precious threads within which track and psychoanalysis meld. Sapen's experience of attractiveness and rhythm contact many chords.'- Michael Eigen, writer of touch with the Depths and Kabbalah and Psychoanalysis'I am dazzled by means of how good Sapen articulates the subtleties of the analytic technique and its reasons, and into the character, technical facets, and multidimensional dynamics of improvisational track and their relevance to the query of emergent awareness. Few if any writers in my event have validated both the perception or caliber of prose to deal so lucidly with those issues, 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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Additional resources for Freud’s Lost Chord: Discovering Jazz in the Resonant Psyche
Psychologically, he is a liminal or boundary figure––a “psychopomp” or soul-guide whose symbolic function mediates between conscious and unconscious. He is responsible for the negotiation of differences on either side of a threshold, turning tension and negation into the dissemination of meaning. Difference is the possibility of reconciliation and action. In physics and chemistry, it can be thought of as an energy gradient. The difference between words and things, between sleeping and waking, between this and that side of a cell membrane, between the characteristics of introjects, or between the inside and outside of a guitar or drum, are examples of such generative thresholds.
When a civilization begins to reinterpret its mythology in this way, the life goes out of it, temples become museums, and the link between the two perspectives becomes dissolved. (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.
76; Loewald, 2000, pp. 102-137; Rycroft, 1979), it no longer remains adequate to rely upon the concepts of condensation and displacement in their original sense, as instruments of compromise and substitution. The id may be hungry, but it is also a coherent agent tasked with the initial structuring and presentation of instinctual imaginal life, the first interface of subject and instinct, thence entering into integrative synthesis with the adaptive, “secondary process” functions. Pathology is thus no longer a function of the subversive nature of the id and its wish-fulfillments, but rather the relative failure of integrative synthesis, leaving a compromised ego beset by thoughts it cannot think and feelings it cannot hold together.