ABSTRACT
The power of music, like the relative freedom of Geulincx’s slave, lies behind, rather than in its power-lessness. Listening to Beckett music is an exercise in generosity in that it opens up to dehiscence, the "given" of exhaustion when there is no more to be heard. Because Beckett music is structured primarily along patterns of reiterated permutations, resolution can only (theoretically) occur within these patterns themselves. Bosseur's sousentendement that the music he heard may not necessarily have been the music Beckett was listening for is tantamount to the realization that the withinness of Beckett music cannot be expressed within itself. It is in the trajectory from withinness to outwardness that the relational lines of Beckett music are drawn; it is listened to in the opposite direction, from without to within.
