Psychoanalytic studies of the arts have mainly focused on visual art, literature, and film; launched by Psychosozial-Verlag in 2017, Jahrbuch für Psychoanalyse und Musik (ISSN 2367-2498) aims to fill the gap with psychoanalytic explorations of music.
The journal addresses musicians, musicologists, and cultural scientists as well as psychoanalysts and psychotherapists; its interdisciplinary approach illuminates seldom-noted connections between academic fields. The inaugural volume, edited by Sebastian Leikert and Antje Niebuhr, focuses on the unconscious meanings of interrelationships between music and language.
Below, the finale of Wagner’s Tristan und Isolde, a work discussed in the journal’s first issue.
Martha Graham found Freud’s psychoanalytic ideas useful for making sense of both her personal life and the material to which she was drawn as a choreographer; they were particularly central to the creative process for her works based on Greek myths.
In Night journey, in which Oedipus’s mother and wife is forced by the blind seer Tiresias to relive the most painful moments of her life, Graham turns Jocasta into a powerful female protagonist by turning a straightforward linear narrative into a complex and difficult one, evoking the physically charged and taboo themes of eroticism, the maternal body, and death.
This according to “Dance, gender and psychoanalysis: Martha Graham’s Night journey” by Ramsay Burt (Dance research journal XXX/1 [spring 1998] pp. 34–53). Above, the 2013 production of the work by the Martha Graham Dance Company; below, Graham herself dances in the opening of Alexander Hammid’s 1960 film of the work.
Related article: Herskovitz and Freud