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Coriat, I.H. (1945). Some Aspects of a Psychoanalytic Interpretation of Music. Psychoanal. Rev., 32:408-418.

(1945). Psychoanalytic Review, 32:408-418

Some Aspects of a Psychoanalytic Interpretation of MusicIsador H. Coriat, M.D.

While the aesthetic appreciation of music has produced considerable psychological descriptive literature, the psychoanalyticapproach to this problem has been rather limited. The principal contributions limited to this subject are in several papers by Pfeifer (1)and Chijs (2).

According to Pfeifer, music is a recapitulation of libidinal expression; it is a means of escape from reality through rhythm which,through the process of psychic economy, provides pleasure through compulsive repetition, thereby releasing unconscious fantasies.The content of music is pure libido symbolism; it lacks objective content because the libidinal aspect of music has not reached theobject level of development; consequently music is the only mental creation in which these libidinal processes can be found in pureculture.

The aesthetic effect of music is the result of three factors: compulsive repetition, pleasure in economy and the force of attractionexerted by the unconscious. The peculiar effect of music consists in the induction of narcissistic and erotogenic pleasures; thereforemusic expresses feelings and their relations; its absence of objective content corresponds with its narcissistic nature. Music isdistinguished from all other arts by its inability to represent objects of the libido outside the ego, thus inducing activities dominatedexclusively by the pleasure principle. Music has arisen in the same way as the development of the libido from narcissistic to objectsexuality. It never obtains object-investment, for if it did so, it would turn into a kind of language and cease to be an art.

According to Chijs, music often symbolizes the identification of the listener with the composer, at times depicting in sound bothejaculation and orgasm. All music represents the deeper sources of unconscious thinking because it is untrammelled by the limitationsof language, as in poetry, or by visual imagery, as in painting.—————————————

Read before the Forty-Fourth Meeting of the American Psychoanalytic Association, Boston, Mass., May 18, 1942.For advice on the technical aspects of music, I am deeply indebted to the comments of Dr. Charles Brenner.

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Rank and Sachs (3) point out that listening to music is usually with a minimum of effort and therefore can often lead to fantasy,thus breaking with reality situations. There is an economy of affect and of pleasure in music and the rhythm may often becomesymbolically sexualized. Mosonyi (4) emphasizes that the special gift of the musician consists in his ability to associate emotions andexperiences with sound, expressing them by this means, and in the creation of a musical composition, the emotional factors arise fromthe unconscious. The great composers have given us but little information on the origin of their works. However, they seem mainlyauditory, rather than visual, as in dreams, and many composers (Beethoven, Brahms, Tchaikowsky and Mozart) have described theircreative activities as analogous to dreams.

Music is one of the highest, if not the highest form of beauty that has revealed itself to mankind; its rhythm and melody have notendency to imitate reality, even in a strictly stylized form. Music reproduces emotional situations in a more direct way than can bedone by any other form of art or any intellectual process. It creates not only a highly emotional reality but also the highest degree ofunreality because it is marked by the absence of objective contents to which emotions can be linked.

Sachs (5) emphasizes that “music acts on the acoustic sense without even the association of visual imagery such as words bringwith them…. Music gives an emotional situation or the change or sequence of emotional situations in a more direct, immediate andprecise way than it can be done by anything else in the world.”

Music produces an artistic illusion, its rhythmic repetition leads to the highest narcissistic gratification, thereby releasing fantasieslike the associative freedom of a day dream. It is this day dreaming which forms the nuclear basis of poetry and music alike; both areego-centric and both lead to the highest form of enjoyment, an intensity of aesthetic attitude which is not to be found in any of theother arts, such as painting or sculpture.

From the non-analytic standpoint there have been some keen observations by musical critics and philosophers on the aesthetic

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effects of music. For instance, Turner (6) emphasizes from a philosophical standpoint, that the pleasure experienced in music issynonymous with the pleasure of falling in love. He states “Music is not the playing or hearing of symphonies and sonatas, but theimagination


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of love…. Music is the imagination of love in sound,” thus linking music with libidinal processes.In Plato's “Symposium”, (7) the physician, Eryximachus, had anticipated the views of the analysts and the critics when he stated

“music is the science of erotics applied to harmony and rhythm. It is not at all difficult to diagnose erotic properties in the structure andharmony of rhythm.”

In music the pleasure principle replaces the reality principle. There is a compulsion to repeat. This is seen particularly in therhythmic pattern of the main theme in the Andante Cantabile movement of Tchaikowsky's Fifth Symphony. In this compulsion torepeat there occurs what may be termed an unwinding of the libidinal aspects of rhythmical repetition and through this repetition thereis not only a working through but also an intensification and condensation of libidinal pleasure. It is this compulsive repetition whichproduces that narcissistic gratification which is so prominent in listening to music.

Music is the purest expression of art and musical fantasy is practically untrammelled or distracted by associations rooted inreality. It reaches the unconscious with a minimum of extraneous resistances. Musical creation has its origin in the unconscious, asseen particularly in Wagner's account of the composition of the orchestral overture to the Rheingold (8). Wagner states that he “fell ina kind of a somnolent state” and “I awoke in terror from my doze, feeling as though the waves were rushing high above my head. I atonce recognized that the orchestral overture to the Rheingold, which must long have lain latent within me, though it had been unable tofind definite form, had at last been revealed to me. I then quickly realized my own nature; the stream of life was not to flow to me fromwithout, but from within.”

This inspiration which is synonymous with the creative state is a special psychological condition in which the latent incubation ofunconscious material is made conscious by certain external stimuli and experiences. When once this process is set into activity, itcannot be controlled; as in a compulsion neurosis, the mind works in spite of itself. “It [the unconscious] has no other aim than to forceits way through the pressure weighing on it, either to consciousness or to discharge by means of some real action” (9).

Musical inspiration, like the revelations of scientific thinking


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(Darwin, Kekulé, Poincare ) has its origin in this unconscious incubation; in music, particularly, the repressed repetition of infantilerhythm in rocking emerges and merges with the more adult conception of the repetitive rhythm of musical notes. Inspiration can takeplace only after the inhibitive forces of the superego have been released. Creative activity then assumes the form of the language ofmusic, i.e., rhythmical repetition, which gives pleasure to composer and player and listener alike.

It probably is never quite clear to the commposer how far he is revealing himself, how far his music is a confession or a self-revelation; but there is ho doubt that in music, as in literature, the various mood reactions which exist at the time are expressed insound. In one of Robert Schumann's letters to Clara Wieck, he states, “I am affected by all that goes on in the world—politics,literature, people; I ponder it all in my own way, and somehow it comes to light in the form of music. And so many of mycompositions are sometimes hard to understand, because they have remote causes, and sometimes they are striking becauseextraordinary happenings take hold of me, and must have their outlet in music” (10). Perhaps, also, the character types of manymusicians are obsessional, which would explain the compulsive repetition of their work, a mental process which is frequently found inscientists, particularly those who are engaging in laboratory research.

In music the pleasure principle and repetition compulsion are united and it is the rhythmical repetition which produces the feelingof pleasure. This long drawn out repetition tends to prolong the initial pleasure and at the same time intensifies it, as is particularlyseen in Ravel's Bolero.

All music is repetitive in that it usually maintains the same rhythmical structure throughout. Every movement has a basic key(repetition of harmony). The classic structure always relies on repetition of principal themes, often many times reiterated, such as inthe sonata form, trio form, rondo form, theme with variations, fugue, chaconne or passacaglia, etc. These various technical devices—————————————

See, for instance, the account by Henri Poincare of one of his mathematical discoveries— “Mounting an omnibus, at the moment when I putmy foot on the step, the idea came to me, without anything in my previous thoughts seeming to foreshadow it.” (The Foundations of Science,

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New York, 1913, p. ix.)


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in music seem to have a certain relationship to the primary processes of condensation, displacement and transformation into opposites.The compulsion to repeat in music is, therefore, not for the sake of repeating as a technical form of artistry but for the purpose of

prolonging narcissistic pleasure along the goal already chosen through the unconscious activities. Thus this aspect of music presentswhat is so often found in the structure of the neuroses. Freud, in discussing anxiety states, (11) emphasizes that the core of certainaffects is “of the nature of a repetition of some particular very siggificant experience.” Music, if viewed from this aspect of a depthpsychology, is, therefore, an instinctual experience and all instinctual experiences are liable to recurrent repetition; they do not occuronce and then remain forever silent, they are not the rigid and frozen patterns of intellectual processes. These repetitions take place inthe service of the pleasure principle.

Thus, in musical inspiration there is a complicated web of latent unconscious thoughts, the same as in literature, where it has beenpossible to discover a mass of latent unconscious and preconscious material which forms the raw stuff of poetry. This is particularlyseen in the basic process of the creative imagination at work in Coleridge's Kubla Khan and the Rime of the Ancient Mariner, soelaborately studied by Lowes (12), and has also been demonstrated in the Brontes (13) by showing the motivating effect of theirjuvenilia in the writing of Jane Eyre and Wuthering Heights.

This concept of repetition compulsion which runs through all of Freud's writings, reached its theoretical culmination in “Beyondthe Pleasure Principle.” Repetition compulsion is not beyond the pleasure principle but within it, although Freud emphasized that “itcontains no potentiality of pleasure and which could at no time have been satisfactions, even of impulses since repressed”. On thecontrary, in describing the play impulses of children, Freud takes an opposite attitude, asserting that in repetition compulsion and thedirect pleasurable satisfaction of impulse, there seems to be an inextricable intertwining. He then goes on to state that repetition maybe itself a source of pleasure. Music increases narcissistic pleasure; it reanimates it as pure libido gratification rather than anintellectual process. It is the working-off of this mechanism of repetition compulsion which produces the gratification of listening tomusic.

In the listener, music reaches the unconscious with a minimum of extraneous resistance and may produce either voluptuous effectsas in Debussy's “Afternoon of a Faun”, or the love-death motives of


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“Tristan and Isolde”; or, on the contrary, when it is too primitive, it may lead to violent revulsions in the listener, as in Stravinsky's“The Rites of Spring.” Concerning the latter, Stravinsky significantly states that the idea of this composition came from the music, themusic did not come from the idea. Other beautiful examples of repetition compulsion are seen in the slow movement of Haydn'sSurprise Symphony, the Andante Cantabile of Tchaikowsky's Fifth Symphony and in the allegretto of Beethoven's Seventh Symphony.In working through the repetition compulsion in listening to music, the psychological process probably consists in making consciousthe infantile prototype of maternal rhythm in handling the child.

One of the most prominent aspects of mental functioning consists of regulative (instinctual) trends which are directed towardsrelaxation of tension, thus producing pleasure which is further emphasized through repetition compulsion. Music produces relaxationand pleasure; the repetition compulsion inherent in music is also regulative, leading to a state of rest, the ego thus arresting tensions;the incoming stimuli of repetitive musical sounds produces ego changes which neutralize anxiety and tension and so finally lead to thissense of pleasure. So the repetition compulsion of music lies within the pleasure principle and not beyond it. This comparison of apsychoanalytic concept with music was beautifully expressed by one patient when he compared free associations to an orchestralscore, part of his associative material being clear and conscious and other parts seeming to remain in the background or preconscious.

Sometimes music seems to represent actual mental processes. For instance, in one of Beethoven's String Quartets (Opus 18,number six in B flat), the last movement is called “Melancholia” by the composer. This movement is very slow and sad in itsrepetition; then the movement develops into a repetitive allegro (allegretto quasi allegro), quite lively, and can be interpreted as sort ofa triumph over the sad passages. If the change in mood in this movement were seen in a human being, the psychiatrist would term it amanic-depressive reaction; and, in fact, the movement is quite periodic, in that, towards the end, the repetitive sad rhythm returnsinterspersed with short, lively passages, finally terminating in a prestissimo, somewhat analogous to a manic flight.

Certain clinical analytic material has been very helpful in illuminating this viewpoint. One analysand, after successful coitus,would find himself humming compulsively the funeral march from Beethoven's Third Symphony (The Eroica), thus seeming to



establish a


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connection between sex and death. In one case of a pianist of unusual accomplishments, a repressed, unmarried woman, the analysisdemonstrated that her interest in music and her ability in composition were sort of a substitute for a child. This was significantlyrevealed in a dream in which she recovered jewels from a box, the jewels in this case being a symbolic substitute for a child . Whileplaying the piano she would often have erotic fantasies towards which, when they reached a certain intensity, she would set up aresistance and then actually forget her notes, as though the erotic fantasies and the musical rhythm were intermingled. It is significantthat on these occasions of forgetting, there was considerable anxiety and panic. For years she had been antagonistic to her mother butshowed a strong attachment to a woman piano teacher who first taught her how to play in childhood; evidently, this teacher was asubstitute for a good and understanding mother. Under conditions of anxious tension, this could be relieved by playing the piano whichshe admits she always did in self-gratification, preferring to play alone, the entire procedure being analogous to a masturbatoryequivalent.

The mental disease (probably schizophrenia) of Robert Schumann was closely interwoven with his music and his musical genius.It began with auditory hallucinations and a continual humming sound in the ears while working on a symphony. This was followed bydepression, inhibition, fatigue, increasing difficulty in composition and decreasing interest in music. He finally becamehypochrondriacal, shut-in, withdrew from reality and made an attempt at suicide. The height of the psychosis in 1854 was marked byauditory hallucinations of whole orchestras, a retreat into the world of fantasy. He heard the voices of angels and demons, threw hiswedding ring into the river and finally showed such increasing mental deterioration that confinement in a mental hospital becamenecessary. (14) Kretschmer describes the mental disease of Schuman as follows: (15)

” This feeling of an icy change, of a growing, deep strangeness in all experience, has been recorded by many schizophrenics at thebeginning of their psychosis. They have the feeling as if their thoughts are no longer their own, that a strange hand in some magicalway has dipped into their spiritual life, that their ideas had come from without, now thrust into consciousness, now arbitrarilywithdrawn, and that they have become the tool of encroaching—————————————

See on this point, Ferenczi's “Cornelia, the Mother of the Gracchi.” (Further Contributions, etc., London, 1926, cxlvi.)


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powers. Such a belief was that of Schumann when he was overtaken by mental disease, that the musical motives produced by his over-stimulated brain came to him from angel voices, indeed from Schubert and Mendelssohn in the beyond. He would stand the whole dayat his writing table with music paper before him and listen, with glances of profound felicity to what they sang for him.”

In music the pleasure principle replaces the reality principle because music is non-verbalized, it effects the emotions only. As anexample of the intense pleasure in musical repetition and its determinants from instinctual tendencies, the allegretto movement ofBeethoven's Seventh Symphony is particularly prominent. Repetition there is necessary to make the music coherent and the regularbeat of repetition tends to break down emotional resistance.

Repetition compulsion, or the compulsion to repeat, is inherent in the very nature of psychic life. Another source of pleasure is theeconomy in this repetition of the rhythm and it is this economy which produces or condenses the greatest amount of pleasure withinthe shortest space of time. This condensed pleasure for the listener is purely narcissistic. The repetition compulsion in musicovercomes the reality principle and overemphasizes the pleasure principle; it conjures up what frequently has been forgotten orrepressed, as seen in Schumann's work on the so-called Spring Symphony, where after four days and nights of labor, the first draft ofthe symphony was completed. (16)

Certain coprophilic elements may enter into music and musical composition as a sublimation of these interests. For instance, itwas pointed out by Ferenczi that the infantile interest in sound accompanying flatus may be transferred later in life to the subject ofmusic and thus there is an anal erotic association of which music is the sublimation. Of course, other deep libidinal strivings enter intothe genius of great composers and have to be taken into consideration. For instance, their early education and the fact that thecomposer may be one of a family of musicians; as, for instance, in Bach, where the musical talent or genius extended through eightgenerations; and also the Strauss family.

The genius of composers shows itself earlier in life than the genius of writers or artists because music is an emotional languageand does not have to be learned like the language of verbalized experience. Wagner relates in his “Autobiography” (17) that when he

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was nine years old the music of von Weber made a great impression on him. He then goes on to state very significantly, “I tried


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in every possible way to procure a repetition of the impressions I had received from him, but, strange to say, least of all by the study ofthe music itself.”

Mental processes are automatically regulated by this pleasure principle whose goal is a direct unconscious repetition of earlierexperiences. This seems to be a rather blind repetition without intellectualizing; according to Freud it brings to light the activities ofrepressed impulses and it seems to be a defensive mechanism against its ego discomfort, a transformation of pain into pleasure by thecomposition. Repetition itself, therefore, whatever its motives, becomes a source of pleasure. The dissonance of modern music, like theconsonance of classical music, is repetitive: in fact, the most potent element in jazz is a primitive rhythm.

New music has as much feeling as classic or romantic music, but there is a change in the quality and the intensity of emotionalexpression. All music has rhythm and melodic content. New music has the same basic elements as older music (melody, form,repetitive rhythm). The most potent influence on the technical side of jazz is that of rhythm; but even classical music may show anunconventional rhythm.

Music may not only produce erotic sensations in certain listeners; but sometimes its very content is preeminently sensual andlibidinal. In the popular Ravel's Bolero, the music starts slowly, becomes more rapid and repetitive, reaches a high intensity and thenagain becomes slow and soft. The repetition of the high intensity is very pleasurable and the entire composition has a rhythm whichresembles the curve of the sexual act with complete potency. The slow beginning is a fore-pleasure; the repetitive intensity is theheight of the pleasure, and so the Bolero essentially represents a coitus rhythm in music. In the Bacchanale of Tannhauser, Wagnerconsciously attempted to depict coitus in music.

The purpose of repetition compulsion in psychic life is very complicated. In order to completely understand it, certain questionsmerit discussion, such as what function does it subserve, how does it appear and how does it produce pleasurable gratification? Inmusic, the repetition compulsion produces a narcissistic overcharging of the ego, but instead of the painful traumatic effect of a bodilyinjury or disease, a sense of inner gratification and release takes place. Possibly this may have some deeply-seated relationship torhythmic rocking and play in infancy which has left its indelible imprint on the deepest layers of the id. It is thus a special dynamicprocess, an instinctual automatism. It is felt within the ego without


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transformation, a special case of the biological basis for psychical processes.In music, the repetition of the rhythm and the melody is directed to the listener's ego, so that the ego is modified by the pleasure of

the musical sounds. As music is libidinal in nature, this libidinal component becomes intensified; the narcissism of the subject whichfundamentally is the libidinal complement of the ego, becomes the recipient of this pleasurable feeling in a more intense manner thanthrough the effect of the other creative arts.

Bibring (18) has pointed out that the mental apparatus is governed by a trend which strives towards a complete relaxation oftension and that repetition compulsion is one of these regulative trends directed towards pleasure and a desire for rest. This is exactlywhat happens when listening to music, the repetitive rhythm and melody producing pleasure and at the same time a sense of relaxation,both of which correspond to certain infantile experiences which music reanimates and makes conscious.

The pleasure principle occupies a central position in the dynamics of human thinking and behavior. Repetition compulsion is not acounter force which minimizes or overcomes this principle, but on the contrary, tends to intensify it. This compulsive repetition mayappear in dreams in an effort to undo a traumatic experience, giving a pleasure value in the mastery of the pain of the experience,through reducing psychical tension. The compulsion to repeat is not primarily for the sake of repeating but for the purpose ofproducing gratification and all libidinal gratification follows this repetitive pattern. Music is libidinal gratification in sound and itsrepetitive trend, whether in sonata or symphony, not only intensifies this gratification but also seems to be its unconscious goal. Apsychical reality rather than a material reality is the determining factor in the pleasure of listening to music and in this listening,narcissism-returns to its original, primary satisfaction.

There is harmony, melody and rhythm in music. The principal function of music is its effect on the listener. Repetition mayproduce pleasure through identification of the listener's wishful thinking and fantasies with the music; the musical repetitive themesenter consciousness therefore with a minimum effort on the part of the listener. When a particular musical composition producesfrustration, there is a tendency to become tense and close the eyes. There is a marked rhythm in the sacrificial dance theme of



Stravinsky's “Rites of Spring,” but on the whole this composition produces sadistic rage. Sometimes music has what may be termed asoporific


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effect in producing drowsiness, as has been particularly observed in listening to Debussy's “Afternoon of a Faun.” The secondmovement of Rachmaninoff's “Concerto Number Two” has not only a prevailing mood of melancholy but also produces thismelancholy feeling, the same as in his “Island of Death,” based on Boecklin's well-known picture of the same name.

Musical memories often enter into psychoanalysis in the free associations, usually as a development of the analytic material whichemerges at a particular time. The repetition of musical themes was compared by one patient to analytic sessions, that is, it was to him arepetition and a working through of similar material.

References1 Sigmund Pfeifer. Problems of the Psychology of Music in the Light of Psychoanalysis. Part I—Psychophysiology of Musical Sound.

(Abstract and Discussion—Int. J. Psycho-Anal., III, 1, 1922, pp. 127-130.) 2 Sigmund Pfeifer. Part II—On Rhythm. (Abstract—Int. J. Psycho-Anal., III, 2, 1922, pp. 272-273.) 3 Problems of Musical Psychology. (Abstract—Int. J. Psycho-Anal., IV, 3, 1923, pp. 380-381.) 4 Problems of the Psychology of Music. Imago, IX, 1923, pp. 452-462. (Abstract—Int. J. Psycho-Anal., VI, 4, 1925, pp. 479-480.)

5 A. van der Chijs. An Attempt to Apply Objective Psychoanalysis to Musical Composition. (Abstract—Int. J. Psycho-Anal., IV, 3,1923, pp. 379-380.)

6 Otto Rank and Hanns Sachs. The Significance of Psychoanalysis for the Mental Sciences. New York, 1915.7 D. Mosonyi. Die irrationalen Grundlage der Music. Imago, XXI, 1935.8 Hanns Sachs. Beauty, Life and Death. American Imago, 1941. 9 W. J. Turner. Orpheus or the Music of the Future. New York, 1926.10 Translated by Francis Birrel and Shane Leslie. The Nonesuch Press, N. D.11 Richard Wagner. My Life. New York, 1936 (p. 603).12 Sigmund Freud. Beyond the Pleasure Principle. London, 1922 (p. 19).13 John N. Burk. Clara Schumann, A Romantic Biography. New York, 1940 (p. 164).14 Sigmund Freud. Introductory Lectures on Psychoanalysis. London, 1922 (p. 331).15 John Livingston Lowes. The Road to Xanadu. Boston, 1927.16 Elizabeth Ratchford. The Brontes' Web of Childhood. New York, 1941.17 For this account I am indebted to Burk's “Clara Schumann.” (See reference 9.)18 Ernst Kretschmer. The Psychology of Men of Genius. New York, 1931 (pp. 166-167).19 Burk. hoc. cit. (pp. 218-219).20 Wagner, hoc. cit. (p. 33).21 Edward Bibring. The Development and Problems of the Theory of the Instincts. Int. J. Psycho-Anal., XXII, 2, 1941.


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Article Citation [Who Cited This?]Coriat, I.H. (1945). Some Aspects of a Psychoanalytic Interpretation of Music. Psychoanal. Rev., 32:408-418 Copyright © 2013, Psychoanalytic Electronic Publishing. Help | About | Download PEP Bibliography | Report a Problem

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