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Projective Identification, Musical Interpretation and the Self

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Projective Identification, Musical Interpretation and the Self. / Losseff, Nicky.

In: Music Performance Research, Vol. 4, No. n/a, 2011, p. 49-59.

Research output: Contribution to journalArticle

Harvard

Losseff, N 2011, 'Projective Identification, Musical Interpretation and the Self', Music Performance Research, vol. 4, no. n/a, pp. 49-59.

APA

Losseff, N. (2011). Projective Identification, Musical Interpretation and the Self. Music Performance Research, 4(n/a), 49-59.

Vancouver

Losseff N. Projective Identification, Musical Interpretation and the Self. Music Performance Research. 2011;4(n/a):49-59.

Author

Losseff, Nicky. / Projective Identification, Musical Interpretation and the Self. In: Music Performance Research. 2011 ; Vol. 4, No. n/a. pp. 49-59.

Bibtex - Download

@article{16df5712bec243a6ba716f43a29b7a68,
title = "Projective Identification, Musical Interpretation and the Self",
abstract = "This article proposes that the psychoanalytic concept of projective identification may be useful for articulating, and hence better understanding and defining, the relationship that some listeners and players may develop between themselves and the musical works of the classical repertoires they are interpreting. It is proposed that through interpreting, we essentially create objects of fantasy through our engagement with musical texts to which we bring a deep sense of self. Eero Tarasti calls this {"}actoriality{"}, and considers it to represent {"}all that by which listeners project themselves into{"}. Anthony Storr called it projective identification – where a person {"}imagines himself to be inside some object external to himself{"} – because {"}over and above a passive enjoyment of sounds, music makes us participate actively in the working of a creative mind{"}. Projective identification usually describes aspects of the relationship between two people (that is, it describes the dynamics of their relatedness), but it could offer other ways of understanding relationships between musical interpreters and works: in terms of 1) the evacuation of feelings; 2) the music beingabout those feelings; and 3) the music being a container for feelings. Given the deep sense of self brought to the interpretative process, we could perhaps posit4) that the developing processes of music cause aspects of the self to change as well. This awareness of projective identification could contribute to the musical learning process in terms of more active and focused musical- and self-awareness and hence to psychological well-being through self-knowledge.",
author = "Nicky Losseff",
year = "2011",
language = "English",
volume = "4",
pages = "49--59",
journal = "Music Performance Research",
issn = "1755-9219",
number = "n/a",

}

RIS (suitable for import to EndNote) - Download

TY - JOUR

T1 - Projective Identification, Musical Interpretation and the Self

AU - Losseff, Nicky

PY - 2011

Y1 - 2011

N2 - This article proposes that the psychoanalytic concept of projective identification may be useful for articulating, and hence better understanding and defining, the relationship that some listeners and players may develop between themselves and the musical works of the classical repertoires they are interpreting. It is proposed that through interpreting, we essentially create objects of fantasy through our engagement with musical texts to which we bring a deep sense of self. Eero Tarasti calls this "actoriality", and considers it to represent "all that by which listeners project themselves into". Anthony Storr called it projective identification – where a person "imagines himself to be inside some object external to himself" – because "over and above a passive enjoyment of sounds, music makes us participate actively in the working of a creative mind". Projective identification usually describes aspects of the relationship between two people (that is, it describes the dynamics of their relatedness), but it could offer other ways of understanding relationships between musical interpreters and works: in terms of 1) the evacuation of feelings; 2) the music beingabout those feelings; and 3) the music being a container for feelings. Given the deep sense of self brought to the interpretative process, we could perhaps posit4) that the developing processes of music cause aspects of the self to change as well. This awareness of projective identification could contribute to the musical learning process in terms of more active and focused musical- and self-awareness and hence to psychological well-being through self-knowledge.

AB - This article proposes that the psychoanalytic concept of projective identification may be useful for articulating, and hence better understanding and defining, the relationship that some listeners and players may develop between themselves and the musical works of the classical repertoires they are interpreting. It is proposed that through interpreting, we essentially create objects of fantasy through our engagement with musical texts to which we bring a deep sense of self. Eero Tarasti calls this "actoriality", and considers it to represent "all that by which listeners project themselves into". Anthony Storr called it projective identification – where a person "imagines himself to be inside some object external to himself" – because "over and above a passive enjoyment of sounds, music makes us participate actively in the working of a creative mind". Projective identification usually describes aspects of the relationship between two people (that is, it describes the dynamics of their relatedness), but it could offer other ways of understanding relationships between musical interpreters and works: in terms of 1) the evacuation of feelings; 2) the music beingabout those feelings; and 3) the music being a container for feelings. Given the deep sense of self brought to the interpretative process, we could perhaps posit4) that the developing processes of music cause aspects of the self to change as well. This awareness of projective identification could contribute to the musical learning process in terms of more active and focused musical- and self-awareness and hence to psychological well-being through self-knowledge.

M3 - Article

VL - 4

SP - 49

EP - 59

JO - Music Performance Research

JF - Music Performance Research

SN - 1755-9219

IS - n/a

ER -