Music and subjectivation

suggestion for a psychoanalytically oriented musical analysis

Abstract

The aim of this text is to demonstrate possible connections between some psychoanalytic concepts and
musical analysis. In this sense, the notions of subjectivation (Lacan 1995), mirror stage (idem), sonorous
envelope (Schwarz 1993) and acoustic mirror (Silverman 1988) are presented. Following, these concepts are used in the analysis of three musical works, in particular Steve Reich's Proverb (1995). We understand that the articulations between music and psychoanalysis can contribute to broaden ways of
understanding how meaning in music is formulated. Furthermore, it allows for the convergence between the
structures observed in the musical discourse and the psycho-cognitive capacities of the listening subject.