The fact that orthodox psychoanalysis has so little to offer in a formal way about music has its origin in an issue discussed in one of the book’s most interesting articles, "Richard Wagner’s Life and Music: What Freud Knew," by Cora L. Díaz de Chumaceiro. The author presents extensive evidence that Freud knew a great deal about Wagner, his music, and his views, yet treated Wagner as a virtual persona non grata in his own works. This is important for the development of psychoanalysis because among Wagner’s chief concerns were the origins of musical affect, inspiration, and genius. In explicating these matters, Wagner offered a powerful dream theory that predated by a half a century essential elements of Freud’s dream theory such as the unconscious, condensation, and secondary revision. Díaz de Chumaceiro shows that this theory was almost certainly used by Freud in formulating his own interpretation of dreams. Additionally, Wagner integrated his elaborate music system with contemporaneous philosophical and evolutionary views. It is no wonder that Freud did not want to cite Wagner, which Díaz de Chumaceiro calls an "inexplicable case of omission." Freud’s failure to address the pivotal psychological and philosophical issues connecting music and affect, defined by a towering genius of the nineteenth century, meant that orthodox psychoanalysis could only touch on music tangentially. The unfortunate result for psychoanalysis was that music became what Feder calls the "unruly stepchild of clinical orthodoxy." Lacking Wagner’s unique and uniquely expressed perspective of the capacity of music to stir, inspire, and emotionally enrich, the psychoanalyst limits emotional feelings to a litany of negative affects and their defensive derivatives.