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Aiming at an analysis of the psychological suffering which musicians may experience in performance situations, this paper puts forward some ideas largely based on the metapsychology of Sigmund Freud and on a critical view of university-level education of musical interpreters. It is argued, at first, that ethical and moral injunctions put upon performers throughout their education could be identified metapsychologically as superegoic. Another part of the investigation verses on possible relations between Superego, death drive and sublimation in the production of unhealthy practices in the study and preparation of performances. This part of the discussion will also consider the different ways in which the Ego might relate with its ideal instances. The last portion of the paper consists in an analysis of passages from Thomas Bernhard's der Untergeher, based on the hypotheses hereby brought to light. [ABSTRACT FROM AUTHOR]

In this essay, I investigate the issue of neoclassicism around the public figure of the polish composer Alexandre Tansman. The objective is to chart some of the ways in which the composer is related to neoclassicism. I begin by presenting an understanding of the term neoclassicism and proceed to an investigation of how commentators see Tansman's relation to it, both in relation to his ideas on music and art and in relation to compositional decisions and procedures. Toward the end of the essay, a section is dedicated to the issue of neoclassicism in Tansman's guitar works, in which I present an argument against the easy use of the term within this repertoire. The final section wraps up the discussion and presents a graphical representation of the results of the present investigation. [ABSTRACT FROM AUTHOR]

This is a review of Marianne Tansman's book La guitare dans la vie d'Alexandre Tansman, written in 2018. The book consists of a chronological account of the composer's relation with the guitar and with the guitarist Andrés Segovia, and produces remarks both on the style and particularities of Tansman's works for guitar as well as broader considerations on Tansman's artistic point of view. By the end of the text, it is compared to other works on the issue of the guitar in the life of Tansman, and some directions for further research on the subject are suggested. [ABSTRACT FROM AUTHOR]