Customer Service | Help | FAQ | Report a Data Error | About
Tip: To access the PEP-Web Facebook pageā€¦

PEP-Web Tip of the Day

PEP-Web has a Facebook page! You can access it by clicking here.

For the complete list of tips, see PEP-Web Tips on the PEP-Web support page.

Mooney, W.E. (1968). Gustav Mahler a Note on Life and Death in Music. Psychoanal Q., 37:80-102.

Welcome to PEP Web!

Viewing the full text of this document requires a subscription to PEP Web.

If you are coming in from a university from a registered IP address or secure referral page you should not need to log in. Contact your university librarian in the event of problems.

If you have a personal subscription on your own account or through a Society or Institute please put your username and password in the box below. Any difficulties should be reported to your group administrator.


Can't remember your username and/or password? If you have forgotten your username and/or password please click here and log in to the PaDS database. Once there you need to fill in your email address (this must be the email address that PEP has on record for you) and click "Send." Your username and password will be sent to this email address within a few minutes. If this does not work for you please contact your group organizer.

OpenAthens or federation user? Login here.

Not already a subscriber? Order a subscription today.

(1968). Psychoanalytic Quarterly, 37:80-102

Gustav Mahler a Note on Life and Death in Music

William E. Mooney, M.D.

Gustav Mahler, whose creative activity extended from the time of Wagner's death to the appearance of major works by Schoenberg and Stravinsky, was a true innovator in music. Like Beethoven, he links the past with the future. His bond with the past is apparent in his melodic material which, like Schubert's, is based on the Lied. Mahler replaces the vertical way of composition with a horizontal one, thus laying the foundation of later atonal and twelve-tone music.

His music is the subject of considerable critical controversy. Some say that it represents the culmination of all Western symphonic music, while others claim that his works are not music at all. During Mahler's lifetime, his music met with prevailingly hostile criticism and public indifference. After his death, his work was almost totally neglected and he became virtually a forgotten composer until the current upsurge of interest beginning in the late 1940's. Nevertheless some leading musical figures of the twentieth century have been profoundly influenced by Mahler—Webern, Berg, Schoenberg, Britten, and Shostakovitch, among others (13). The composer himself appeared to possess an unfailing confidence in the greatness of his music. 'My time will come', he said over and over. It is of interest to consider the possible sources of such assurance, certainly an important condition for the continuing creative process in this man.


From the Department of Psychiatry, University of Pittsburgh School of Medicine.

Read at the meeting of the Pittsburgh Psychoanalytic Society, September 26, 1966.

- 80 -

[This is a summary or excerpt from the full text of the book or article. The full text of the document is available to subscribers.]

Copyright © 2017, Psychoanalytic Electronic Publishing, ISSN 2472-6982 Customer Service | Help | FAQ | Download PEP Bibliography | Report a Data Error | About

WARNING! This text is printed for personal use. It is copyright to the journal in which it originally appeared. It is illegal to redistribute it in any form.