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Représentation musicale et représentation psychique : applications cliniques

Abstract : This thesis considers musical representation as a concrete form of mental representation, just as verbal language or image representation. We are questioning which are the particularities of musical representation in human thought. Why does man need musical representation, what are the origins of music and what functions does music serve in human societies ? Which are the differences of the musical code from the code of verbal language ? The first part of our thesis approaches these questions through an interdisciplinary study. Furthermore, we are interested in the elementary structures of musical discourse : rythm, melody and harmony. In the second part of this thesis, we locate the origins of musical rythm in physical body rythms, and the origins of musical melody in the preverbal voice - concretely in the mother's voice. Musical harmony is considered as an artistic application of the universal laws of the acoustic phenomene. In the third part of this thesis the musical code is analysed, as a form of mental representation which encodes meaning and emotion : we attribute to the musical code the capacity to encode, better than language does, not concrete information but inner affective states and body sensations, as well as the experience of human relation. We name sonograms, in analogy to Piera Aulagnier's pictograms, the musical proto-representations which would encode precicely an affective state felt in utero by hormonal circulation associated to a concrete sonor pattern listened by the fetus at the same time. We examine, furthermore, how sonograms would evolve to more elaborated forms of musical representation, that we name fond musical structures (rythm, melody and harmony) and, finaly, to the sophisticated musical code. We consider this latter musical code as a reflection of the subjectivation of the individual, which encodes precicely the human experience of relation, from the initial phase of symbiosis with the mother to the phase of complete autonomy of the child from her. Music is considered as a form of mental representation which may also reflect the eventual pathological aspects of the psychic apparatus, and it is compared to dreaming, to the primary process and the unconscious. In the fourth part of this thesis, we expose the libidinal investment of the subject which takes place through music : the relation of music to narcissism, but also to object investment is questioned. How does sublimation occur in the artistic field, and what is the particularity of musical sublimation ? The sublimation of Eros, but also of Thanatos is analysed in the reality of musical creation, through concrete musical examples.Finally, in the fifth part of our thesis we are investigating the way in which music, as a form of mental representation, could be integrated into psychoanalytical clinical practice. We are describing our protocol of Analytical Musicodrama, a concrete method of musical implication into psychoanalytical clinical practice, both in individual and group analysis. In this protocol, we are using the musical code, which we alternate with verbal language but also with the image representation code, aiming to access thoughs, affective states and the psychological reality of our patients. We are afterwards working on this reality through musical representation. We are also interested in neo-symbolisation which can take place for the subject by means of sonor sensoriality, and could afterwards be encoded into music. Different applications of Analytical Musicodrama and its therapeutic results are illustrated, trough the exposition of various clinical examples.
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  • HAL Id : tel-02120919, version 1

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Xanthoula Ntakovanou. Représentation musicale et représentation psychique : applications cliniques. Psychologie. Université Sorbonne Paris Cité, 2018. Français. ⟨NNT : 2018USPCC027⟩. ⟨tel-02120919⟩

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