本文以質疑一個陷入失眠的《搖籃曲》開始。在拉赫曼尼諾夫1941 年改編自柴可夫斯基歌曲op. 16 no. 1《搖籃曲》的鋼琴曲中，多降小調的A 段與多升大調的BC 段交替形成ABACA 曲式。A 段作為前奏與間奏每次都有半音發展，直至曲中的搖籃節奏被全音階打斷；當半音再現時，其斷斷續續而又再串連起來的樣貌，可詮釋為一種力量，並與BC 兩段角力。這種角力與精神分析中「意識、前意識、潛意識」的理論結構相仿。為了進一步探究此詮釋的方法論基礎，本文多方建立精神分析、詮釋學、藝術研究與音樂研究等學科間的「視域融合」；繼而以佛洛伊德《夢的解析》的夢的分類與本曲參照：本曲A 段的半音代表著「潛意識」透過律動將能量宣洩，BC 段「前意識」卻安撫夢者讓睡眠延續。此兩者拉鋸合乎「焦慮夢」的原型，其焦慮動能 則可回溯作曲者身上。對弗萊說，詮釋的目的，就如亞里斯多德《詩學》般，將不同的作品依其文類和內容分類，並連結其表達手法。因此本文一方面透過精神分析理論詮釋本曲為「焦慮夢」文類；另一方面探討此理論應用至音樂詮釋的合理範圍，以作為作者及聽者的「前理解」，使音樂創作與理解的平台可以不斷往前推進。

This study starts with questioning a lullaby that falls to insomnia. In
Rachmaninoff’s piano transcription of Tchaikovsky’s song “Lullaby” (op.16 no.1), the alternation between the multi-flat minor section A with the multi-sharp major sections B and C establishes its ABACA form. Section A as prelude and interlude has chromatics growing rampantly every time until a whole-tone climax breaks down the cradle-rocking rhythm. The interaction between chromatics and the whole-tone scale can be interpreted as a wrestling between two different characters, similar to the metaphor structure of psychoanalysis, where the struggle is among the forces of conscious, preconscious and sub-conscious. To further investigate the methodology of this interpretation, I attempt to bring such disciplines as psychoanalysis, hermeneutics, art research and musicology into a “fusion of horizons.” Thus this piece can be matched
with Freud’s dream typology: while A’s chromatics represents the sub-conscious releasing the anxiety energy through movement, B and C represents the pre-conscious maintaining the dreamer’s slumber. The wrestling between the two corresponds with Freud’s “Anxious Dream,” and the source of anxiety can be traced back to the composer’s biography. For Northrop Frye, hermeneutics' aim resembles Aristotle’s “Poetics” in putting art works and their expressive means into different categories
according to their genres. Therefore this article examines the reasonable range of applying psychoanalysis theory to musical interpretation, to serve as the “pre-understanding” of both author and audience and reinforce the platform for musical creativity and cognition.