Institute of Psychoanalysis, London, England.
Int J Psychoanal. 2020 Feb;101(1):84-109. doi: 10.1080/00207578.2019.1696655.
In this paper, I explore the principal model within classical Western music, the sonata form, in terms of its gendered narratives. Susan McClary, an eminent American musicologist, started to do this in the 1980s as part of her forceful feminist critique of academic musicology and the music considered to be "great" within the Western classical music canon. She has been especially critical of much of Beethoven's music, particularly the Ninth Symphony, which, along with other major works, she considers to be structured along patriarchal lines, actively if unconsciously promoting the values of patriarchy, overflowing with male violence and female subordination, its narrative primarily based on phallic sexuality. Her influence has been very considerable in musicology. I set out her case and critique it psychoanalytically, but in so doing I also set out my own theory of sonata form and Beethoven's music as imbued with, and expressive of, a bisexual narrative. As Beethoven's forceful masculinity has long been recognized, I particularly emphasize and illustrate his musical femininity. I also discuss and employ theories of countertransference and Oedipal configurations in relationship to Beethoven's music in particular, and in general the links between Western classical music and the musicality of ordinary clinical psychoanalysis.
在本文中，我将探讨古典西方音乐中的主要模式，即奏鸣曲式，从其性别叙事的角度进行分析。美国杰出的音乐学家苏珊·麦克拉瑞（Susan McClary）在 20 世纪 80 年代就开始这样做，这是她对学术音乐学和西方古典音乐经典中被认为“伟大”的音乐进行强有力的女权主义批判的一部分。她特别批评了贝多芬的许多音乐作品，尤其是第九交响曲，她认为这部作品以及其他一些主要作品都按照父权制的模式构建，积极但无意识地推动了父权制的价值观，充满了男性暴力和女性屈从，其叙事主要基于阳具性欲。她在音乐学领域的影响力非常大。我阐述了她的观点，并从精神分析的角度对其进行了批判，但在这样做的过程中，我也阐述了自己关于奏鸣曲式和贝多芬音乐的理论，认为它们充满了、并表达了双性恋叙事。由于贝多芬强烈的男子气概早已被人们所认可，我特别强调并举例说明了他音乐中的女性气质。我还讨论并运用了关于反移情和俄狄浦斯情结配置的理论，特别是与贝多芬的音乐有关，以及西方古典音乐与普通临床精神分析的音乐性之间的联系。
