ABSTRACT

The notions of musical thinking, musical reverie and the sound-time continuum are explored in relation to the experience of musical perception. Amplification of musical symbols is discussed in relation to Jung’s work on dreams. The argument is put forward that music is not identical to a language but rather an active discourse of flowing verbs akin to Blackfoot modes of communication. It is recommended that an analyst approach the micro-cultural specificities of each patient as an intelligently curious anthropologist might confront otherness. The ambiguity of sound as a phenomenon is explored and various clinical anecdotes are given as amplification of this theme. Musical thinking as an example of thinking without a language is discussed followed by some investigation of the neurological aspects of amusia and aphasia. It is suggested that maintaining the position of dynamic equilibrium between the extremes could allow one’s perception of music to transcend the limits of a logos-oriented language toward a more developmentally beneficial and relational eros orientation.