امکان‌سنجی به‌کارگیری روان‌کاوی لکان برای موسیقی‌شناسی انتقادی

Critical musicology, which is also referred to by other terms 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 fields such as cultural studies, social studies, critical sociology, gender studies, feminism, psychoanalysis, and post-modernism discourse for the study of musicology. In terms of subject of research, Critical musicology considers both artistic and popular music and analyzes the historical evolution of them. In this article, first critical musicology is introduced. Then the features of Lacanian musicology are analyzed and limitations of its application are discussed. After that, four reasons for the justification of using Lacan's theory in musicology are presented. These reasons include "the interdisciplinary nature of musicology", "emotional and non-conceptual nature of music", "contribution of unconscious elements to the creation and reception of music" and "structural analysis of music". Additionally, this research aims to answer the question, "What possibilities does Lacan's theory of psychoanalysis provide for critical musicology?" In this way, first Lacan's concepts that have been most used in musicology are introduced, including "gaze", "object petit a", "three orders of imaginary, symbolic, real", "jouissance" and "fantasy". By investigating works written in the context of Lacanian musicology, the application of these concepts in Lacanian musicology is tested. Then the advantages and limitations of Lacanian musicology are discussed. 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, the limitations of Lacan's musicology are also taken into consideration, 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".. At the end, the topic of ethics in music with the approach of Lacanian ethics in "psychoanalytic ethics" is suggested as a plan for future researches.