Abstract

In the long history of Western music, whose direct antecedent is usually located in ancient Greece, the listener and the listening have experienced multiple changes. Historical determinants, social and political, that exceed the specifically musical field, underlie the way of listening. However, the musical transformations are inescapable to approach an understanding of the changes that occur in the listener and in the act of hearing a musical work. In this work a series of questions guide the analysis and reflections. How are the sound transformations in modernism produced and how do they affect listening? What place has music and the dimension of sound for psychoanalysis (Freud and Lacan)? And, what relationships can be established between these transformations and psychoanalysis?

Key Words: consonance; dissonance; music; psychoanalysis