Richard Kogan Biography, Age, Height, Wife, Net Worth, Family

Age, Biography and Wiki

Richard Kogan is a renowned American psychiatrist and concert pianist. He was born in 1955 in New York City. He is the son of renowned concert pianist and teacher, Mieczyslaw Horszowski. Kogan graduated from Harvard College in 1977 and received his medical degree from Harvard Medical School in 1981. He completed his residency in psychiatry at the Massachusetts General Hospital in 1985. Kogan is currently the Director of the Mood and Anxiety Disorders Program at the New York State Psychiatric Institute and a professor of clinical psychiatry at Columbia University College of Physicians and Surgeons. He is also a faculty member of the Columbia University Center for Psychoanalytic Training and Research. Kogan has published numerous articles and books on the topics of mood and anxiety disorders, psychotherapy, and psychopharmacology. He is a frequent lecturer and has appeared on television and radio programs. Kogan is married to the concert pianist, Susan Starr. They have two children. As of 2021, Richard Kogan's net worth is estimated to be around $2 million.

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Timeline

There’s a common vocabulary between the two: fantasy, rhythm, harmony, climax... Masters and Johnson tried to define the phases of sexuality with scientific rigor — stages of desire, arousal, climax, and resolution. Many very great pieces of music follow the same arc. Music can get everybody in the room to feel the same way at the same time, and everyone will agree on the climax of the piece. Great composers don’t give you immediate gratification; they set up an expectation and then veer you away somewhere else, so when you finally get a release, the resolution is more powerful and more satisfying. There may be a basic mechanism that is common to all pleasure.

Psychological 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.

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.'"

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. [I]n the piano sonatas that he wrote [toward the end of his life] he bares his soul... He's not expressing the kind of heaven-storming rage he expressed in the Appassionata. [Now] he is disclosing a lifetime of suffering, but it's tempered, I believe, by wisdom."

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 (possibly produced by temporal lobe epilepsy) 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.

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.

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.

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.

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 received his M.D. degree from Harvard Medical School in 1982. He completed a psychiatry residency and an academic fellowship at New York University.

At Harvard University, where he studied music (his major) 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.

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.

The hyperactivity that characterized him as a youngster [says Kogan] persisted for the rest of his life. You can hear it in his music. This, for example, from Rhapsody in Blue. [Kogan plays a fast-tempo passage on the piano.] Tell me: could that have been written by somebody who was not hyperactive? Do you know this song? [Kogan plays a passage from Someone to Watch over Me.] When Gershwin would play this song, it would sound something more like this. [Kogan plays the same passage at a speeded-up tempo.] People asked him, "Why do you play everything that way?" He answered: "We live in an age of staccato [clipped, abrupt, detached playing], not legato [smooth and connected playing]." This was the Jazz Age, it was the Roaring Twenties. But I think Gershwin lived in a central nervous system of staccato and not of legato. [However,] the adult Gershwin would not have received an ADHD diagnosis [from a 21st-century psychiatrist]. As a grown-up, he had an excellent attention span; he was no longer prone to impulsive behavior. And, unlike so many conduct-disordered children, he didn't have any antisocial or sociopathic tendencies as an adult. George Gershwin's life was completely transformed by his exposure to music as a youngster. Music didn't just cure him; it made him better than well by unlocking the creative genius within.

George Gershwin (1898–1937) 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 (1873–1943), 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 (an amateur musician), cured Rachmaninoff's creative block through hypnosis and psychotherapy, the composer produced his celebrated Piano Concerto No. 2, dedicated to Dahl.

Scott Joplin (1867 or 1868 – 1917): 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.

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.

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.

Frédéric Chopin (1810–49): 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 (possibly produced by temporal lobe epilepsy), Chopin, notes Kogan, "not coinciden[tally] composed the most famous funeral march in history."

Robert Schumann (1810–56): Manic episodes in the course of his bipolar disorder brought periods of explosive creativity, but he died in a mental institution by self-starvation.

Ludwig van Beethoven (1770–1827): His hearing loss and syphilis may have induced psychosis.