ABSTRACT
Technical and structural aspects involved in music-oriented analytical psychology are discussed, including maintaining the analytic frame, interpreting the transference and engaging with resistance and defences. The main analytic elements of technique are translated into specific musical processes illustrated by musical and clinical vignettes. It is shown how music can be utilized in analysis in a way that thoroughly engages the unconscious while minimizing impediments to the emergence of unconscious material. The relationship between musical structure and psychic structure is explored including investigations related to improvisation, analytic caesura, hearing what cannot yet be seen, dissonance, working musically with transference, silence, imaginal cells, musical foreclosure, maintaining a musical analytic container, interpreting musical symbolic content, improvisational typological attunement, performance anxiety, musical acting out and working musically with defences.
