امکان سنجی بکارگیری روانکاوی لکان برای موسیقی‌شناسی انتقادی

Critical musicology, which is referred to by other titles such as "new musicology" and "radical musicology", is a new field in musicology studies that has been popular since the 1980s. In terms of methodology, the unique feature of critical musicology is its distance from positivist approaches and its interdisciplinary feature. Critical musicology uses a variety of cultural studies, social studies, critical sociology, gender studies, feminism, psychoanalysis, and post-modernism discourse for the study of musicology. In terms of subject of ressearch, Critical musicology considers both artistic and popular music and analyses the historical evolution of them.
In this article, we first introduce the critical musicology. Then we survey the features of Lacanian musicology and discuss the limitations of its application. After that, we present four reasons for the justification of using Lacan's theory in musicology. These reasons include "the interdisciplinary nature of musicology", "emotional and non-conceptual nature of music", "contribution of unconscious elements in the creation and reception of music" and "structural analysis of music".
Additionaly, we are look for an answer to the question, "What possibilities does Lacan's theory of psychoanalysis provide for critical musicology?" In this way, we first introduce Lacan's concepts that have been most used in musicology, including "gaze", "object petit a", "three orders of imaginary, symbolic, real", "jouissance" and "fantasy". By investigating works written in the context of Lacanian musicology, we survey the application of these concepts in Lacanian musicology.
Then we discuss the advantages and limitations of Lacanian musicology. In summary, the most important advantages of Lacanian musicology are "the possibility of analyzing the unconscious processes involved in the creation and reception of music", "the wide analytical scope of Lacan's theory", "opening new fields of social/cultural, literary and gender research for musicology", "the ability to explain the impact of "extra-musical elements on music" and "pathology of music".
Nevertheless, we also declaire the limitations of Lacan's musicology, the most important of which are "the non-argumentative feature of psychoanalysis", "the openness of Lacan's theories to different interpretations", "the impossibility of providing a unique aesthetic theory" and "the inability to provide a criterion for evaluating and measuring musical works". " are. At the end, we suggest the topic of ethics in music with the approach of Lacanian ethics in "psychoanalytic ethics" as a plan for future researches.