Richard Kogan (physician)


Richard Kogan is Clinical Professor of Psychiatry at Weill Cornell Medical Center, in New York City; Co-Director of the Medical Center's Human Sexuality Program; and Artistic Director of the Weill Cornell Music and Medicine Program.
In addition to his medical calling, Kogan is a concert pianist. This combination of accomplishments led him to develop a series of lecture-recitals that explore the role of music in healing, and the influence of psychological factors and medical conditions on the creative work of composers.

Life

Richard Kogan is the son of a gastroenterologist from Elizabeth, New Jersey, and the second of five children. He began piano performances in 1961 at age 6. But the medical world was never far from the family life; his father took the boy on medical rounds. His mother, for her part, enrolled him at the Juilliard School of Music Pre-college, where he studied piano with Nadia Reisenberg.
At Harvard University, where he studied music and completed a pre-medical curriculum, Kogan formed a trio with his Juilliard friend Yo-Yo Ma and with violinist Lynn Chang. After earning a bachelor's degree at Harvard in 1977, he went to Harvard Medical School under a special five-year plan that enabled him to travel and perform concerts.
Kogan received his M.D. degree from Harvard Medical School in 1982. He completed a psychiatry residency and an academic fellowship at New York University.
In 2001 Kogan presented a symposium at the American Psychiatric Association on mental illness and musical creativity. The experience launched him on a new career. It convinced him that exploring the psyches of composers made him a better interpreter of their scores, and that understanding the role of creativity in people's lives made him a better psychiatrist.
Kogan's role as artistic director of the Weill Cornell Music and Medicine Program has given him the opportunity to enable medical students and physicians to pursue, as he has done, both occupations, medicine and music, without having to leave either behind.

Music

In considering composers for his lecture-concerts, Kogan selects ones who had intrapsychic conflicts that affected their creative processes, and who wrote for the piano so that he can illustrate his points with musical examples.
He often uses an anniversary as an occasion to examine a certain composer. In 2006 he explored Mozart's mind and music during the 250th anniversary of his birth. In 2007 he presented Leonard Bernstein on the 50th anniversary of the world premiere of West Side Story. In 2010 he presented Chopin on the bicentennial of his birth.
Asked whether it is possible to diagnose psychiatric conditions in deceased composers, Kogan responds:
Kogan points out that a number of famous composers have suffered from mental problems that seem to have both enriched and complicated their music, and certainly complicated their lives. Prominent among them have been:
Ludwig van Beethoven : His hearing loss and syphilis may have induced psychosis.
Frédéric Chopin : In self-imposed exile from his beloved occupied Poland; suffering evidently from tuberculosis that caused enervation, exhaustion, and a constant awareness of the shadow of death; and bedeviled by visual hallucinations, Chopin, notes Kogan, "not coinciden composed the most famous funeral march in history."
Robert Schumann : Manic episodes in the course of his bipolar disorder brought periods of explosive creativity, but he died in a mental institution by self-starvation.
Peter Ilich Tchaikovsky 1840–93): As a closeted homosexual in czarist Russia, he was deeply depressed for many years and may have ended his life by suicide.
Scott Joplin : the "King of Ragtime", born in the first generation of freeborn African-Americans after the Civil War. "When you listen to classic ragtime pieces and note the basic tension between the metrically rigid baselines and the captivating, syncopated melodic lines, you can almost hear it as the struggle and eventual triumph of freedom over slavery.” By 1916, Joplin was suffering from tertiary syphilis and resulting insanity; In January 1917 he was admitted to a mental institution, where he soon died of syphilitic dementia at 49.
George Gershwin as a child would probably today have been diagnosed with conduct disorder and with attention-deficit hyperactivity disorder. Late in his life, psychoanalysis could not relieve depression triggered by an undiagnosed brain tumor, which killed him at 38.
Some other composers' lives, though also marked by periods of mental illness, did not end quite so tragically. Sergei Rachmaninoff, following the disastrous premiere of his Symphony No. 1, suffered for three years from a debilitating depression that prevented him from composing. After his psychiatrist, Nikolai Dahl, cured Rachmaninoff's creative block through hypnosis and psychotherapy, the composer produced his celebrated Piano Concerto No. 2, dedicated to Dahl.
Kogan hastens to add that, while writers and artists have mood disorders in greater proportion than the general population, mental illness is not a prerequisite for creativity. "There have been examples of great composers, such as Bach, Haydn, and Mendelssohn, who seem to have been relatively free of significant psychopathology."
Kogan, director of a human-sexuality program, sees links between music and human sexuality:
While trained as a classical musician, Kogan expresses "a deep appreciation for a wide variety of musical genres.... I am generally opposed to arbitrary stylistic distinctions. I agree with the viewpoint of Duke Ellington, who once said, 'There are only two kinds of music — good music and bad music. I like both kinds.'"
Over the years, Kogan says, he has had at least a dozen favorite composers, including Bach, Mozart, Beethoven, Schubert, Chopin, Brahms, Debussy, Stravinsky, Bartók, and Shostakovich. "My favorite composer seems to be the one whose musical world I've been immersed in most deeply at any given time."

Resilience

is the ability to recover from traumatic events to such a degree that the individual's life returns to its pre-traumatic level of functioning. In Kogan’s view, music can foster the development of resilience.

Beethoven

An extraordinary example of resilience, says Kogan, is Beethoven. When he discovered that he was going deaf, he considered suicide. But he decided against it and "actually became a much greater composer after he became deaf.... e wasn't hearing the music written by his contemporaries like Haydn, with whom he had studied as a young man, so he was less under the influence of prevailing traditions, and he began to... conjure up sounds and forms that were different from anything anyone had composed..."
Beethoven had experienced trauma early in life. His alcoholic father, as a music teacher, was brutal to him. Whenever Beethoven did not follow his instructions precisely, he would either threaten to, or actually did, beat him. "And nothing infuriated his father more than when Beethoven would improvise, which the father considered to be an unacceptable act of rebellion." The desperately unhappy boy retreated into a world of music and fantasy: he practiced prodigiously, especially when his father was not around, and he daydreamed that his father was not his actual father–that he was in fact the illegitimate son of King Friedrich Wilhelm II of Prussia.
Beethoven, isolated as a child, became considerably more isolated when he became deaf. In some ways, the deafness worked to his advantage. Before he had been forced to give up public performances as one of the leading pianists of the age, he had been terribly frustrated by the pianos of his time, which were tiny instruments with very little resonance. Once he retreated into his silent world, he conjured up the sounds of the modern grand piano. His Appassionata Sonata was never performed in his lifetime. "t makes no sense on pianos of his era," says Kogan. " the Sonata, you hear him channeling his rage; but the sound of the modern grand piano seemed to be almost essential to the expression of what he was trying to .... Occasionally some 'authentic' person will try to , but it sounds really odd."
Thus, in the middle period of his life, Beethoven composed very dramatic music, full of heroism and nobility. Toward the end of his life—by then, he was completely deaf and was almost completely isolated—"his music-making became much more intimate, lyrical, expressive. You get the feeling that the music that he was creating was his own way of connecting with the outside world, was a way of establishing some kind of intimacy that was otherwise lacking in his life. n the piano sonatas that he wrote he bares his soul... He's not expressing the kind of heaven-storming rage he expressed in the Appassionata. he is disclosing a lifetime of suffering, but it's tempered, I believe, by wisdom."

At the end of his life, in addition to the complete deafness, Beethoven also suffered from a host of chronic illnesses: from cirrhosis of the liver, chronic renal failure, pancreatitis, and severe abdominal pain. But this man who desperately needed healing himself, says Kogan, "was trying to heal the world.... I'm not sure that there's been any piece of music... that's healed more world-wide trauma than the finale of Beethoven's Ninth Symphony... the Ode to Joy.

Chopin

Another example of resilience cited by Kogan is that of Frédéric Chopin, who lived out the entire, brief second half of his life in France, in self-imposed exile from his beloved, dismembered Poland. The Russian Empire's suppression of Poland's November 1830 Uprising had thrown him into such despair that, in a notebook, he wondered how God, if He existed and was not Himself a Russian, could permit such a calamity. Chopin also poured his distress into compositions such as the Revolutionary Étude, which combines a sense of palpable loss with a sense of unvanquishable resistance. In that composition, 20-year-old Chopin showed his resilience by converting his anguish into inner healing through the truest expression of his feelings.
Amid the pain of exile from his beloved family and homeland, Chopin continued composing piano works in many genres, including compositions modeled on a Polish folk dance, the mazurka and on the stately aristocratic processional dance, the polonaise. He composed them as a way of demonstrating the continuing vitality of a Poland that did not exist as a sovereign polity. With his more refined piano versions of uniquely Polish music, he made the world aware of his homeland's musical heritage while extending the reach of those forms.
In addition to separation from homeland and family through his entire adult life, Chopin's severe medical conditions—evidently including tuberculosis–as well as disturbing visual hallucinations caused enervation, exhaustion, and the constant presence of the shadow of imminent death. "It was probably not a coincidence," says Kogan, "that this man who was deathly ill for much of his short life composed the most famous funeral march in history."
Kogan describes Chopin's indomitable resilience—his ability to "spring back": an ability that, Kogan emphasizes, can be used to meet daunting challenges in the life of any person, whatever his degree of talent. "Resilience is a skill," he says, "you can practice it. Chopin exhibited many of its components, including discipline. Despite his horrible health, energy fluctuations, and weakness, he maintained a very disciplined work schedule, composing, teaching five hours a day, and practicing." Kogan sees a special potential for psychic and physical healing in music and in musical training.

Gershwin

A more recent example of an especially resilient composer, cited by Kogan, is that of George Gershwin. "Part of what's fascinating about is that he grew up in a home almost completely without music." He and his siblings spent a lot of their time roaming the streets. "George stole food from pushcarts, regularly engaged in fistfights, even set fires on occasion. He lost his virginity with a girl at age nine. He was a hyperactive kid who showed signs of conduct disorder."
But at age 10 or 11 Gershwin, while playing hooky from school classes, he chanced to overhear a violin recital by a fellow pupil. "On the spot," says Kogan, "he decided that was what he was going to do with the rest of his life."
"Gershwin might have fit a diagnosis of ADHD," says Kogan. "Today a child psychiatrist might have prescribed Adderall or Ritalin, but in Gershwin's case his behavioral problems stopped when he found music."
Gershwin persuaded his parents to let him take piano lessons. He poured all his considerable energy into a musical education that covered classics by Mozart, Schumann, and Beethoven, but he also "inhaled all of Broadway tunes and jazz." Kogan notes: "He used to say that 'Studying the piano turned a bad boy into a good boy.'"
At 15 Gershwin dropped out of school and went on to a Tin Pan Alley publishing company to promote other people's songs. By 20, he had his own breakout hit with Swanee, recorded by Al Jolson, who had overheard Gershwin performing it at a party.
Kogan, who is intrigued by Gershwin's creative process, points to a train ride that Gershwin and his lyricist brother Ira took when the composer was 25. They were traveling from New York to Boston for the tryout of a musical called Sweet Little Devil. "On the way, George said he paid close attention to the clickety-clack of the train on the tracks and the whooshing sounds of the train in motion. Later, he claimed that the entire construction of Rhapsody in Blue revealed itself to him during that ride." The composition combined elements of classical music and jazz and was finished in a mere three weeks.
"He was," says Kogan, "stimulated by what others might consider noise." This was true for the Paris taxi horns that influenced An American in Paris as well. "Some composers insist on absolute quiet, but Gerwhwin composed with the window open."
At 38 Gershwin died of a brain tumor. Physicians had missed the signs of the tumor, which was not diagnosed until the day he died. He had gone to a hospital, complaining of headaches, and lapsed into a coma. Later a glioblastoma was found on his temporal lobe. He had been showing symptoms: he interrupted rehearsals, complaining about smelling burning garbage, and he had trouble with his coordination. But people may have missed the signs because he never stopped working; he was composing music until the last week of his life.
"What fascinates me," says Kogan, "is what influences creativity. And the capacity of music to heal and transform lives."

Destigmatization

When asked by Lloyd I. Sederer, M.D., about other concerns of his, Kogan has said that he is trying to destigmatize mental disorders: If geniuses can have a mental illness, then mental illness should not be thought shameful, especially if a mental disorder is part of the creative and inspirational process. Kogan has done numerous benefit concerts for organizations such as the National Alliance on Mental Illness.

Mind and body

In Dr. Kogan's medical specialty, psychiatry, today's overarching paradigm is the biopsychosocial model. This model holds that mind, centered in the brain, is an integral part of the body, and that both mind and body also interact with the social milieu. Each of the three factors — biology, psyche, and society — interacts with, and affects, the other two.
Kogan points out that listening to, or playing, music reduces stress levels by releasing the hormone, cortisol, and can reduce pain.
Music boosts immunity and releases dopamine, a brain neurotransmitter which is also released during other pleasurable activities such as sex or indulgence in good food.
Music benefits heart patients by reducing high blood pressure; in stroke patients, it helps restore speech and motor functions; and in the elderly it helps arrest cognitive decline. Music can enhance the motor functioning of persons suffering from Parkinson's disease.
"Music needs to be part of the healing techniques adopted by a psychiatrist," says Kogan. "It should not replace traditional medicine, rather supplement it. We need to make it a part of traditional therapy, as it makes the recovery faster."
Kogan recommends that his patients not just listen to music, but make it themselves.
"I especially recommend community listening or playing, where the entire group is enjoying rather than merely tuning in to iPods and other gadgets."

Recordings