Araştırma Makalesi
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Müzikal Yaratımda Bilinçdışının Etkileşimi Üzerine Kavramsal İnceleme

Yıl 2024, Cilt: 11 Sayı: 1, 29 - 42, 24.06.2024
https://doi.org/10.26650/CONS2024-1431502

Öz

Müzikal yaratım süreci, sanatçının biyolojik, kültürel ve psikolojik deneyimlerine dayalı olarak, bilinçdışındaki çatışmalarının bilinç düzeyine erişimini içerir. Diğer bir ifadeyle psişik kaynakların müziğin oluşumunda kültürel estetikle içi içe geçmiş somut ses düzenlemelerine dönüştürülmesi temel bir rol oynar. Bu çalışma, Freud ve Lacan’ın psikanalitik yöntemleri aracılığıyla müzikal yaratım ile bilinçdışı arasındaki etkileşimi vurgulayarak Batı sanat müziği bağlamının analizine katkıda bulunmayı amaçlamaktadır. Bu açıdan, müzisyenlerin iç dünyaları hakkında anlam oluşturmanın yolunu gösterebilecek disiplinlerarası ve açıklayıcı bir araştırma alanı olarak önem taşımaktadır.

Kaynakça

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  • Feder, S., Richard L. K., & Pollock, G. H. (eds.) (1993). Psychoanalytic Explorations in Music. Madison: International University Press. google scholar
  • Forrester, J. (1990). The Seductions of Psychoanalysis: Freud, Lacan and Derrida. New York: Cambridge Universtiy Press. google scholar
  • Hatten, R. S. (2017). Interpreting musical gestures, topics, and tropes: Mozart, Beethoven, Schubert. Bloomington: Indiana University Press. google scholar
  • Hodges, D. A., & Sebald, David C. (2011). Music in the Human Experience: An Introduction to Music Psychology. New York: Routledge. google scholar
  • Kramer, L. (1998).Franz Schubert: sexuality, subjectivity, song (No.13). Cambridge University Press. google scholar
  • Levitin, D. J. (2006). This is your brain on music: The science of a human obsession. Penguin. google scholar
  • Margulis, E. H. (2018). The psychology of music: A very short introduction. Oxford University Press. google scholar
  • May, R. (1994). The Courage to Create. New York: W.W. Norton Company. google scholar
  • Mazzola, G. (1997). Semiotics of Music: A Handbook on the Sign-Theoretic Foundations of Nature and Culture. Berlin & New York: Walter de Gruyter. google scholar
  • Ostwald, P. (1985). F. Schumann: The inner voices of a musical genius. New Hampshire: University Press of New England. google scholar
  • Palisca, C. V. (2006). Music and ideas in the sixteenth and seventeenth centuries. Illinois: University of Illinois Press. google scholar
  • Roazen, P. (1975). Freud and his followers. Harmondsworth: Penguin google scholar
  • Reik, T. (1983). The Haunting Melody. Psychoanalytic Experiences in Life and Music. New York: Da Capo Press. google scholar
  • Schwarz, D. (1997). Listening Subjects: Music, Psychoanalysis, Culture. Durham: Duke University Press. google scholar
  • Sloboda, J. A. (1985). The Musical Mind: The Cognitive Psychology of Music. New York: Oxford University Press. google scholar
  • — (2005). Exploring the musical mind: Cognition, emotion, ability, function. Oxford University Press. google scholar
  • Tarasti, E. (1995). Musical signification: essays in the semiotic theory and analysis of music. Berlin & New York: Mouton de Gruyter. google scholar
  • Thaut, M. (2013). Rhythm, music, and the brain: Scientific foundations and clinical applications. Taylor & Francis. google scholar
  • Thompson, W. F. (2014). Music, Thought and Feeling: Understanding the Psychology of Music. London: Oxford University Press. google scholar
  • Välimäki, S. (2005). Subject Strategies in Music: A Psychoanalytic Approach to Musical Signification. Helsinki: The International Semiotics Institute. google scholar
  • Vygotsky, L. S. (1974). Psychology of Art. Cambridge: MIT Press. google scholar
  • de Assis, P. (2017). Rasch24: The Somatheme. In J. Impett (Ed.), Artistic research in music: discipline and resistance: Artists and Researchers at the Orpheus Institute (pp. 15-43). Leuven: Leuven University Press. google scholar
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  • Brattico, E., & Tervaniemi, M. (2006). Musical creativity and the human brain. In I. Deliege & G. Wiggins (Eds) Musical Creativity: Multidisciplinary Research in Theory and Practice (pp. 290-321). New York: Psychology Press. google scholar
  • Brenneis, D. (1990). Musical imaginations: Comparative perspectives on musical creativity. In M. A. Runco & R. S. Albert (Eds.), Theories of Creativity (pp. 170-189). California: Sage Publications. google scholar
  • Campbell, W., & Heller, J. (1980). An orientation for considering models of musical behavior. InD. Hodges (Ed.), Handbook of Music Psychology (pp. 29-36). KS: National Association for Music Therapy. google scholar
  • Clarke, E. F. (2012). Creativity in performance. In D. Hargreaves, D. Miell, & R. MacDonald (Eds.), Musical Imaginations: Multidisciplinary Perspectives on Creativity, Performance and Perception (pp. 17-30). New York: Oxford University Press. google scholar
  • Cook, N. (2006). Playing God: Creativity, analysis, and aesthetic inclusion. InI. Deliege & G. Wiggins (Eds), Musical Creativity: Multidisciplinary Research in Theory and Practice (pp. 9-24). New York: Psychology Press. google scholar
  • Cooley, T. (2013). Folk Music in Eastern Europe. In P.V. Bohlman (Ed.), World Music (pp. 352-370). New York: Oxford University Press. google scholar
  • Drabkin, W. (2008). Heinrich Schenker. In T. Christensen (Ed.), The Cambridge of History Western Music Theory (pp. 812-843). Cambridge University Press. google scholar
  • Hogan, P. C. (1990). Structure and Ambiguity in the Symbolic Order. In P.C. Hogan & L. Pandit (Eds), Criticism and Lacan (pp. 3-30). Athens: University of Georgia Press. google scholar
  • Miller, G. (2000). Evolution of human music through sexual selection. In N.L. Wallin, B. Merker, & S. Brown (Eds.), The Origins of Music (pp. 329-360). MIT Press. google scholar
  • Miller, J. (2007). Jacques Lacan and the voice. In V. Voruz, & B. Wolf (Eds.), The Later Lacan: An Introduction (pp. 137-146). Albany: State University of New York Press. google scholar
  • Mirigliano, R. (1995). The sign and music: A reflection on the theoretical bases of musical semiotics. In E. Tarasti (Ed), Musical Signification: Essays in the Semiotic Theory and Analysis of Music (pp. 43-61). Berlin & New York: Mouton de Gruyter. google scholar
  • Noy, P. (1993). How music conveys emotion. In S. Feder, R.L. Karmel, & G.H. Pollock (Eds.), Psychoanalytic Explorations in Music: Second Series (pp. 125-153). Madison: International University Press. google scholar
  • Spencer, H. (1875). The origin and function of music. In H. Spencer (Ed.), Illustrations of Universal Progress: A Series of Discussions (pp. 210-238). New York: D. Appleton & Company. google scholar
  • Trippett, D. J. (2012). Carl Stumpf: A Reluctant Revolutionary. In D. Trippet (Ed.), The Origins of Music (pp. 17-30). Oxford University Press. google scholar
  • Andreasen, N. C. (2005). Yaratıcı Beyin (K. Guney, Trans.). Ankara: Arkadaş Yayınevi. google scholar
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  • (2011). Camera Lucida: Fotoğraf Üzerine Düşünceler (R. Akçakaya, Trans.). İstanbul: Altıkırkbeş Basın Yayın. google scholar
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A Conceptual Exploration on the Interplay of Unconscious in Musical Creativity

Yıl 2024, Cilt: 11 Sayı: 1, 29 - 42, 24.06.2024
https://doi.org/10.26650/CONS2024-1431502

Öz

The process of musical creation involves the artist bringing conflicts from the unconscious into consciousness based on their biological, cultural, and psychological experiences. In other words, the transformation of psychic resources into tangible sound arrangements intricately intertwined with cultural aesthetics plays a fundamental role in the formation of music. This study aims to contribute to the analysis of Western art music by emphasizing the interaction between musical creation and the unconscious through Freudian and Lacanian psychoanalytic methods. Simultaneously, in this regard, it holds significance as an interdisciplinary and explanatory research field that can guide the generation of meaning towards the inner worlds of musicians.

Etik Beyan

Research did not include or conduct with human participants or focusing on humans. Thus, Ethical Board Approval is not specified. My article titled "A Conceptual Exploration on the Interplay of Unconscious in Musical Creativity", which I sent to you with the request to be published in Psychology of Aesthetics, Creativity, and the Art, can be published in another periodical, book, etc. I undertake that it has not been published or sent for publication. If the contrary is proven, all legal liability belongs to me.

Destekleyen Kurum

The author declares and certifies that no funding has been used.

Kaynakça

  • Cook, N. (1987). A Guide to Musical Analysis: Schenkerian Analysis. London: J.M. Dent. google scholar
  • Feder, S., Richard L. K., & Pollock, G. H. (eds.) (1993). Psychoanalytic Explorations in Music. Madison: International University Press. google scholar
  • Forrester, J. (1990). The Seductions of Psychoanalysis: Freud, Lacan and Derrida. New York: Cambridge Universtiy Press. google scholar
  • Hatten, R. S. (2017). Interpreting musical gestures, topics, and tropes: Mozart, Beethoven, Schubert. Bloomington: Indiana University Press. google scholar
  • Hodges, D. A., & Sebald, David C. (2011). Music in the Human Experience: An Introduction to Music Psychology. New York: Routledge. google scholar
  • Kramer, L. (1998).Franz Schubert: sexuality, subjectivity, song (No.13). Cambridge University Press. google scholar
  • Levitin, D. J. (2006). This is your brain on music: The science of a human obsession. Penguin. google scholar
  • Margulis, E. H. (2018). The psychology of music: A very short introduction. Oxford University Press. google scholar
  • May, R. (1994). The Courage to Create. New York: W.W. Norton Company. google scholar
  • Mazzola, G. (1997). Semiotics of Music: A Handbook on the Sign-Theoretic Foundations of Nature and Culture. Berlin & New York: Walter de Gruyter. google scholar
  • Ostwald, P. (1985). F. Schumann: The inner voices of a musical genius. New Hampshire: University Press of New England. google scholar
  • Palisca, C. V. (2006). Music and ideas in the sixteenth and seventeenth centuries. Illinois: University of Illinois Press. google scholar
  • Roazen, P. (1975). Freud and his followers. Harmondsworth: Penguin google scholar
  • Reik, T. (1983). The Haunting Melody. Psychoanalytic Experiences in Life and Music. New York: Da Capo Press. google scholar
  • Schwarz, D. (1997). Listening Subjects: Music, Psychoanalysis, Culture. Durham: Duke University Press. google scholar
  • Sloboda, J. A. (1985). The Musical Mind: The Cognitive Psychology of Music. New York: Oxford University Press. google scholar
  • — (2005). Exploring the musical mind: Cognition, emotion, ability, function. Oxford University Press. google scholar
  • Tarasti, E. (1995). Musical signification: essays in the semiotic theory and analysis of music. Berlin & New York: Mouton de Gruyter. google scholar
  • Thaut, M. (2013). Rhythm, music, and the brain: Scientific foundations and clinical applications. Taylor & Francis. google scholar
  • Thompson, W. F. (2014). Music, Thought and Feeling: Understanding the Psychology of Music. London: Oxford University Press. google scholar
  • Välimäki, S. (2005). Subject Strategies in Music: A Psychoanalytic Approach to Musical Signification. Helsinki: The International Semiotics Institute. google scholar
  • Vygotsky, L. S. (1974). Psychology of Art. Cambridge: MIT Press. google scholar
  • de Assis, P. (2017). Rasch24: The Somatheme. In J. Impett (Ed.), Artistic research in music: discipline and resistance: Artists and Researchers at the Orpheus Institute (pp. 15-43). Leuven: Leuven University Press. google scholar
  • Bohlman, P. V. (2013). Johann Gottfried Herder and the global moment of world-music history. In P. V. Bohlman (Ed.), World Music (pp. 255-276). New York: Oxford University Press. google scholar
  • Brattico, E., & Tervaniemi, M. (2006). Musical creativity and the human brain. In I. Deliege & G. Wiggins (Eds) Musical Creativity: Multidisciplinary Research in Theory and Practice (pp. 290-321). New York: Psychology Press. google scholar
  • Brenneis, D. (1990). Musical imaginations: Comparative perspectives on musical creativity. In M. A. Runco & R. S. Albert (Eds.), Theories of Creativity (pp. 170-189). California: Sage Publications. google scholar
  • Campbell, W., & Heller, J. (1980). An orientation for considering models of musical behavior. InD. Hodges (Ed.), Handbook of Music Psychology (pp. 29-36). KS: National Association for Music Therapy. google scholar
  • Clarke, E. F. (2012). Creativity in performance. In D. Hargreaves, D. Miell, & R. MacDonald (Eds.), Musical Imaginations: Multidisciplinary Perspectives on Creativity, Performance and Perception (pp. 17-30). New York: Oxford University Press. google scholar
  • Cook, N. (2006). Playing God: Creativity, analysis, and aesthetic inclusion. InI. Deliege & G. Wiggins (Eds), Musical Creativity: Multidisciplinary Research in Theory and Practice (pp. 9-24). New York: Psychology Press. google scholar
  • Cooley, T. (2013). Folk Music in Eastern Europe. In P.V. Bohlman (Ed.), World Music (pp. 352-370). New York: Oxford University Press. google scholar
  • Drabkin, W. (2008). Heinrich Schenker. In T. Christensen (Ed.), The Cambridge of History Western Music Theory (pp. 812-843). Cambridge University Press. google scholar
  • Hogan, P. C. (1990). Structure and Ambiguity in the Symbolic Order. In P.C. Hogan & L. Pandit (Eds), Criticism and Lacan (pp. 3-30). Athens: University of Georgia Press. google scholar
  • Miller, G. (2000). Evolution of human music through sexual selection. In N.L. Wallin, B. Merker, & S. Brown (Eds.), The Origins of Music (pp. 329-360). MIT Press. google scholar
  • Miller, J. (2007). Jacques Lacan and the voice. In V. Voruz, & B. Wolf (Eds.), The Later Lacan: An Introduction (pp. 137-146). Albany: State University of New York Press. google scholar
  • Mirigliano, R. (1995). The sign and music: A reflection on the theoretical bases of musical semiotics. In E. Tarasti (Ed), Musical Signification: Essays in the Semiotic Theory and Analysis of Music (pp. 43-61). Berlin & New York: Mouton de Gruyter. google scholar
  • Noy, P. (1993). How music conveys emotion. In S. Feder, R.L. Karmel, & G.H. Pollock (Eds.), Psychoanalytic Explorations in Music: Second Series (pp. 125-153). Madison: International University Press. google scholar
  • Spencer, H. (1875). The origin and function of music. In H. Spencer (Ed.), Illustrations of Universal Progress: A Series of Discussions (pp. 210-238). New York: D. Appleton & Company. google scholar
  • Trippett, D. J. (2012). Carl Stumpf: A Reluctant Revolutionary. In D. Trippet (Ed.), The Origins of Music (pp. 17-30). Oxford University Press. google scholar
  • Andreasen, N. C. (2005). Yaratıcı Beyin (K. Guney, Trans.). Ankara: Arkadaş Yayınevi. google scholar
  • Barthes, R. (1977). Image-Music-Text (S. Heath, Trans.). New York: Hill and Wang. google scholar
  • — (1985). The Responsibility of Forms (R. Howard, Trans.). California: University of California Press google scholar
  • (2011). Camera Lucida: Fotoğraf Üzerine Düşünceler (R. Akçakaya, Trans.). İstanbul: Altıkırkbeş Basın Yayın. google scholar
  • — (2014). Görüntünün Retoriği, Sanat ve Müzik (A. Koç & Ö. Albayrak, Trans.). İstanbul: Yapı Kredi Yayınları. google scholar
  • Derrida, J. (2008). Khora (D. Eryar, Trans.). İstanbul: Kabalcı Yayınevi. google scholar
  • Kant, I. (1790/1934). The Crtique of Judgment (J.C. Meredith, Trans.). London: J.M. Dent. google scholar
  • Lacan, J. (2011). Psikanalizin Dört Temel Kavramı: Seminer 11. Kitap (N. Erdem, Trans.). İstanbul: Metis Yayınları. google scholar
  • — (2019). Yine/Hala: Seminer 20. Kitap (M. Erşen, Trans.). İstanbul: Metis Yayınları. google scholar
  • Michels, U., & Vogel, G. (2021). Müzik Atlası (S. Uçar, Trans.). İstanbul: Alfa Basım. google scholar
  • Nattiez, J.J. (1993). Wagner Androgyne (S. Spencer, Trans.). Princeton: Princeton University Press. google scholar
  • Saussure, F. (1985). Genel Dilbilim Dersleri (B. Vardar, Trans.). Ankara: Birey ve Toplum Yayınları. google scholar
  • Schenker, H. (1930/2014). The Masterwork of Music: Volume III (I. Bent, A. Clayton, & D. Puffett, Trans.). New York: Dover Publication. google scholar
  • — (1935/1977). Free Composition: Volume III of New Musical Theories and Fantasias (E. Oster, Trans.). New York: Pendragon Press. google scholar
  • Schopenhauer, A. (1808/1906). The World as Will and Idea (R. B. Haldane & J. Kemp, Trans.). London: Kegan Paul, Trench, Trübner&Co.Ltd. google scholar
  • Sharf, R. S. (2018). Psikoterapi ve Psikolojik Danışma Kuramları (N. V. Acar, Trans.). Ankara: Nobel Yayınevi. google scholar
  • Bannan, N. (2017). Darwin, music and evolution: new insights from family correspondence on The Descent of Man. Musicae Scientiae, 21(1), 3-25. https://doi.org/10.1177/1029864916631794 google scholar
  • Barale, F., & Minazzi, V. (2008). Off the beaten track: Freud, sound and music. Statement of a problem and some historico-critical notes. The International Journal of Psychoanalysis, 89(5), 937-957. https://doi.org/10.1111/j.1745-8315.2008.00068.x google scholar
  • Crozier, W. R., & Chapman, A. J. (1985). Psychology and the arts: The study of music. Music Perception: An Interdisciplinary Journal, 2(3), 291-298. https://doi.org/10.2307/40285300 google scholar
  • Feder, S. (1980). Gustav Mahler urn Mitternacht. International Review of Psycho-Analysis, 7, 11-26. Retrieved from https://pep-web.org/ google scholar
  • — (1981). Gustav Mahler: The music of fratricide. International Review of Psycho-Analysis, 8, 257-284. Retrieved from https://pep-web.org/ google scholar
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Toplam 89 adet kaynakça vardır.

Ayrıntılar

Birincil Dil İngilizce
Konular Müzik (Diğer)
Bölüm Araştırma Makalesi
Yazarlar

İsmail Hakkı Burdurlu 0000-0001-7465-7679

Yayımlanma Tarihi 24 Haziran 2024
Gönderilme Tarihi 4 Şubat 2024
Kabul Tarihi 26 Şubat 2024
Yayımlandığı Sayı Yıl 2024 Cilt: 11 Sayı: 1

Kaynak Göster

APA Burdurlu, İ. H. (2024). A Conceptual Exploration on the Interplay of Unconscious in Musical Creativity. Conservatorium, 11(1), 29-42. https://doi.org/10.26650/CONS2024-1431502