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This article addresses the need for theoretical markers in order to support the development of music psychotherapy and augment the dialogue between music therapy and psychotherapy in Canada. Faced with deficient notions of objectivity and subjectivity with regards to one's musical sense, the author shows that music played in a therapeutic context is essentially an intersubjective phenomenon which calls for an interpretive approach. When applied to music therapy, the theory of intersubjectivity offers guidelines to interpret the musical experience and understand its role withing therapeutic change. Music is not considered to have meaning in itself, but the meaning emerges progressively by convergent or divergent connections with other elements of the therapy. The patient is encouraged to experiment and discover various aspects of himself and their relationships through music. He is engaged with his therapist in the task of co-creating meaning. The uniqueness, as well as the mutual therapeutic relationship are recognized by the theory of intersubjectivity and allow the therapist to realize his own contribution to the process. Clinical vignettes are used to illustrate this point. [ABSTRACT FROM AUTHOR]