Samuel Wilson is Tutor in Music Philosophy and Aesthetics at Guildhall School of Music and Drama and Lecturer in Contextual Studies at London Contemporary Dance School. He completed his PhD in 2013 at Royal Holloway, University of London. His research explores music and subjectivity in the intellectual and material contexts of recent modernity. He has published on contemporary music and aesthetics, drawing on a range of theoretical perspectives—from psychoanalysis and Critical Theory to phenomenology and posthumanism.

• Introduction Samuel Wilson Part I: Psychoanalysis, musical analysis, and method 1. Speaking of the voice in psychoanalysis and music David Bard-Schwarz 2. Parallels between Schoenberg and Freud Alexander Carpenter 3. The psychodynamics of neo-Riemannian theory Kenneth M. Smith 4. Schubert, music theory, and Lacanian fantasy Christopher Tarrant 5. Subjective and objective violence in Taylor Swift’s ‘I Knew You Were Trouble’ Alexi Vellianitis Part II: Situating music and psychoanalysis 6. Does the psychoanalysis of music have a 'subject'? Samuel Wilson 7. Jung and the transcendent function in music therapy Rachel Darnley-Smith 8. Symbolic listening: the resistance of enjoyment and the enjoyment of resistance Jun Zubillaga-Pow 9. Masochism and sentimentality: Barthes’s Schumann and Schumann’s Chopin Stephen Downes

Samuel Wilson is Tutor in Music Philosophy and Aesthetics at Guildhall School of Music and Drama and Lecturer in Contextual Studies at London Contemporary Dance School. He completed his PhD in 2013 at Royal Holloway, University of London. His research explores music and subjectivity in the intellectual and material contexts of recent modernity. He has published on contemporary music and aesthetics, drawing on a range of theoretical perspectives—from psychoanalysis and Critical Theory to phenomenology and posthumanism.

• Introduction Samuel Wilson Part I: Psychoanalysis, musical analysis, and method 1. Speaking of the voice in psychoanalysis and music David Bard-Schwarz 2. Parallels between Schoenberg and Freud Alexander Carpenter 3. The psychodynamics of neo-Riemannian theory Kenneth M. Smith 4. Schubert, music theory, and Lacanian fantasy Christopher Tarrant 5. Subjective and objective violence in Taylor Swift’s ‘I Knew You Were Trouble’ Alexi Vellianitis Part II: Situating music and psychoanalysis 6. Does the psychoanalysis of music have a 'subject'? Samuel Wilson 7. Jung and the transcendent function in music therapy Rachel Darnley-Smith 8. Symbolic listening: the resistance of enjoyment and the enjoyment of resistance Jun Zubillaga-Pow 9. Masochism and sentimentality: Barthes’s Schumann and Schumann’s Chopin Stephen Downes

Samuel Wilson is Tutor in Music Philosophy and Aesthetics at Guildhall School of Music and Drama and Lecturer in Contextual Studies at London Contemporary Dance School. He completed his PhD in 2013 at Royal Holloway, University of London. His research explores music and subjectivity in the intellectual and material contexts of recent modernity. He has published on contemporary music and aesthetics, drawing on a range of theoretical perspectives—from psychoanalysis and Critical Theory to phenomenology and posthumanism.

• Introduction Samuel Wilson Part I: Psychoanalysis, musical analysis, and method 1. Speaking of the voice in psychoanalysis and music David Bard-Schwarz 2. Parallels between Schoenberg and Freud Alexander Carpenter 3. The psychodynamics of neo-Riemannian theory Kenneth M. Smith 4. Schubert, music theory, and Lacanian fantasy Christopher Tarrant 5. Subjective and objective violence in Taylor Swift’s ‘I Knew You Were Trouble’ Alexi Vellianitis Part II: Situating music and psychoanalysis 6. Does the psychoanalysis of music have a 'subject'? Samuel Wilson 7. Jung and the transcendent function in music therapy Rachel Darnley-Smith 8. Symbolic listening: the resistance of enjoyment and the enjoyment of resistance Jun Zubillaga-Pow 9. Masochism and sentimentality: Barthes’s Schumann and Schumann’s Chopin Stephen Downes