Modes of listening in music and in psychoanalysis
In the long history of western music, whose direct antecedent is usually placed in ancient Greece, listener and listening have experienced multiple changes. The law that governs a listening mode is not found outside historical, political or social determinations that overcome the specific...
| Autores: | , |
|---|---|
| Tipo de documento: | artigo |
| Estado: | Versão publicada |
| Data de publicação: | 2019 |
| País: | Costa Rica |
| Recursos: | Universidad de Costa Rica |
| Repositório: | Portal de Revistas UCR |
| Idioma: | espanhol |
| OAI Identifier: | oai:portal.ucr.ac.cr:article/35812 |
| Acesso em linha: | https://revistas.ucr.ac.cr/index.php/kanina/article/view/35812 |
| Access Level: | Acceso aberto |
| Palavra-chave: | consonance dissonance musica psychoanalysis consonancias disonancias música psicoanálisis |
| Resumo: | In the long history of western music, whose direct antecedent is usually placed in ancient Greece, listener and listening have experienced multiple changes. The law that governs a listening mode is not found outside historical, political or social determinations that overcome the specific musical field. However, musical transformations are inexorable to approach an understanding of changes produced in the listener and the act of hearing a musical work. How has the music been treated by Freud and Lacan? What is the interest that may arouse to psychoanalysis the sonorous dimensions in their different treatments? How does sound transformations in modernism occur and how they affect listening? What relationships can be established between these transformations and psychoanalysis? Key Words: consonance, dissonance, music, psychoanalysis. |
|---|