The musicality of the subject in the psychoanalytic clinic
musicality, voice, speech, real, psychoanalytic clinic
In this work, I intend to address the musicality of the subject and its importance in the psychoanalytic clinic. Musical origin precedes the subject himself as absolute jouissance and is essential to his constitution. I argue that as musicality the sound of its origin that is not extinguished when reaching the world of language, which survives seamlessly with its instinctual drive character. Thus, the musicality of speech says what the signifier does not say about the subject. I believe that the subject's position, forms of jouissance and psychic dynamics can be approached by the sonorous singularity of his voice, by the way he makes himself audible in his sound acts. Therefore, for the analyst, musicality must have an essential focus. Hence, this research seeks to reflect on how the subject can be understood in the psychoanalytic clinic from his sonorous singularity, between his musical trait and his dissonances. First, I start from analytical experiences and the construction of cases that led me to what I called clinical musical subversion, musical supplement, analytical acoustics, musical intervention, among other conceptions. Towards the desubjectivation, I propose that the analysis seeks the process of non-deafening of the subject to his audible strangeness before the real.