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This article focuses on the ways listening to the sound and music that can enable the expansion of the psychic spaces that the psychoanalyst and the analysand can explore together, using the unconscious material that the analysand brings to sessions, which is always present but sometimes plays in narrow spaces. It engages in an attempt to reflect on the kind of contributions that the processing of the unrepresentable experience level through auditory images in the sessions might have on the analysand's ability to represent.
The aim of the paper is to discuss the musical dimension of reverie, in the analysis, keeping in mind the transformative effect of the notes that are skipped and the unspoken music. If we consider the melodies, song lyrics, or sounds that play in the analyst's mind, which accompany their associations, as well as the repetitive song lyrics that echo in her thoughts, as the musical dimension of reverie and define it as “musical reverie,” it can be suggested that these musical reveries of the analyst serve as a prelude, or an introductory piece aimed at listening to the analysand more deeply.
Within this framework, the aim is to open up a space for thought by providing clinical case examples that illustrate how what is heard and what is not heard is brought into the sessions, and how the analytic couple strives to remain alive along their transformative journey without getting lost, exploring the various rhythms involved.