Joseph Polisi is the president of the Juilliard School, a scholar, author of two books (The Artist as Citizen, 2005 and American Muse: The Life and Times of William Schuman, 2008.) A performing bassoonist, and a visionary/catalyst who turns challenge into opportunity, Polisi became the sixth president of the Juilliard School in 1984, at the ripe young age of 36. Previously, he had been dean of the University of Cincinnati College-Conservatory for Music, dean of faculty at the Manhattan School of Music, and executive director of the Yale University School of Music. He holds a doctorate of musical arts degree from Yale, and degrees in political science from the University of Connecticut and international relations from the Fletcher School of Law and Diplomacy at Tufts University. As a bassoonist, Polisi has performed throughout the United States, including the major concert halls of New York.
As a psychoanalyst, I believe that a Juilliard education shares attributes similar to analytic training.
He has produced recordings, and has recorded a solo album of 20th century-bassoon music. He is the author of numerous articles in scholarly and educational journals and is a passionate writer and speaker about the arts and education. With these credentials, he is more than qualified to speak about the challenges and opportunities that face the musician in the 21st century, which is exactly what he did at the 2010 Discussion Group entitled “Psychoanalytic Perspectives on Music” which took place at the APsaA National Meeting in New York. Atlanta-based psychoanalyst Steven Levy provided a stimulating discussion.
At Juilliard, Polisi has established innovative programs in student services and revised the curriculum with emphasis on the value of the humanities in promoting quality of life and social responsibility. Of significance was his creation of the counseling services in 1984 which, according to Polisi, is highly utilized and has become a “trusted part of the Juilliard community.” He has been instrumental in the long-range plan for Juilliard, which includes increasing student financial aid and faculty compensation, launching a major building renovation, and developing creative programs to prepare students for careers in the 21st century as leaders and communicators of human values.
As chair of the discussion group, “Psychoanalytic Perspectives on Music,” and in reflecting upon Polisi's comments, I cannot help but reminisce about my own experience as a piano major at Juilliard many years ago. My professional identity and personal sensitivities were shaped mightily by my experience at the school, although at that time it was impossible to imagine how my Juilliard education would become internalized and integrated post-graduation. As a psychoanalyst, I believe that a Juilliard education shares attributes similar to analytic training. The comparison of intense immersion at Juilliard with the tripartite model of psychoanalytic training (i.e., analytic training, didactic classes, and supervision of clinical cases) comes to my mind as I reflect on my intense relationship with my piano teacher (my “musical analyst”), the didactic classes in music and academic subjects, and the performance requirements and opportunities (somewhat analogous to clinical work), where performing in recitals allowed for self-reflection, deepening artistic skills, and communicating musically with audiences. One can graduate from Juilliard, as one can terminate an analysis, but musical and emotional immersion at Juilliard has had long-lasting effects, similar to analytic post-termination.
The APsaA Ticho Memorial Lecturer this June is Julie Jaffee Nagel, speaking on “Melodies In My Mind: The Polyphony of Mental Life.” She will be introduced by Glen Gabbard.
Sometimes I observe that I graduated from Juilliard with a major in piano and a minor in stage fright. To know there is a counseling service that is a “trusted part of the Juilliard community” is nothing less than spectacular. I also recall the stresses I experienced in finding a compatible roommate and place to live in New York City. That the Meredith Wilson Residence Hall opened in 1990 replete with support systems that build community at Juilliard is significant in the development of a community of artists as citizens. I find it interesting that Polisi's name has its root in the Greek word, “polis,” which means “city” or
Julie Jaffee Nagel, Ph.D., graduated from Juilliard, earned psychology and social work degrees at the University of Michigan, co-chairs APsaA's Committee on Psychoanalysis and the Arts, is faculty at the Michigan Psychoanalytic Institute, and in private practice in Ann Arbor.
“citizenhood” and is equivalent to the Latin “civitas,” also connoting citizenhood. The polis-centered Hellenistic influence of the ancient world continues at 21st century-Juilliard under Joseph Polisi's leadership. The policies (also a derivative of “polis”) of interdisciplinary collaborations at the school, and the local, national, and international outreach programs that he has initiated at Juilliard do more than provide a musical education, a sense of citizenship, and community and physical structures for living and working. These innovations also foster the development of mental structure and enhance the musical and emotional growth of our future cultural ambassadors and citizens of the contemporary world who transmit our cultural heritage. Polisi's leadership at Juilliard has made it clear that playing a musical instrument is much more than playing the right notes (often as virtuosic as possible). To quote Polisi, “There should be no dividing line between artistic excellence and social consciousness. America's artists of today must take on the challenge of synergistically applying these two elements if the art forms we embrace are to continue to flourish and to communicate the human values that emanate from them.”
Polisi's visions and actions about extending the intrinsic value and communicative power of music and the arts both within and beyond the practice room and concert hall are compatible with applying psychoanalytic principles within and beyond the couch and the consulting room into the community of ideas and in diverse arenas such as education, community organization, and social and political discourse. Toward these noble objectives, music and psychoanalysis are enriched by one another.