Seth Brodsky's scholarly and critical work pursues two related lines of inquiry. The first concerns music of the 20th and 21st centuries, in particular the field of “composerly production”, with all the openness this connotes: how is “the composer” constructed, and how does she function culturally, discursively, technologically, mythically? Brodsky’s second line of inquiry involves the role of unconscious processes—particularly as figured in psychoanalytic discourse—in the making and experiencing of music. Here he is especially interested in musical influence and intertextuality—the “locus of the other”—in the work of living, recently deceased, or frequently resurrected composers. How, for instance, do contemporary composers fantasize and shepherd their affiliations with their musical past and precursors, and what role does the psychoanalytic unconsciously play in these fantasies?