ABSTRACT
The intrapsychic phenomenon of bilocation is explored through the lens of the composer and the analyst in relation to Jung’s model of the psyche, which includes two centres, the ego and the self. The philosophies of various composers are explored and applied to specific clinical case examples where similar dynamics emerge. It is proposed that there are significant similarities between the composer’s framework and the demands of the analytic dyad within a music-oriented analysis, since composers, like analysts, must find ways to frame the vastness of their minds in order to conceptualize what may be occurring at some location within their musical parameters. The experience of a music-less state saturated with concrete facts is discussed leading to the notion of musical destructions, where the sounds clash with discharged feelings of failure and psychic amusia. It is proposed that the analyst’s task here is to tolerate and contain these jagged un-musical bits along with their dissonant affect with enough integrity that the musical field constellates its compositional aspect.
