Bion and Gould’s thought, respectively in psychoanalysis and music, shows significant and interesting concordance.
Both men are considered mystics, in the sense of supporters of highly innovative ideas (messianic),namely for their ability to approach the “truth” and to influence culture and the establishment in a revolutionary manner.
They favour the rule of improvisation, thanks to which the transition from a formal/executive functionto a creative one is carried out. The technique, in turn, should never be separated from the content outside logical awareness: by focusing on both aspects simultaneously, a new point of view may arise. Yet, the technique should
not impose itself on the interpretation, rather it should stay “in the background”. For this to happen is also necessary to approach the unknown, something definitely not knowable that each analytical session (musical piece) proposes thanks to the ever renewed relationship between the patient (listener) and the therapist (interpreter).