My aim in this chapter is to consider such processes of “becoming music”—the in-between and ever-changing/metamorphic differentiations of music becoming.2 Drawing from critical ideas of Gilles Deleuze and Félix Guattari, and feminist writers Luce Irigaray and Elizabeth Grosz, Rosi Braidotti and Gloria Anzaldúa, I emphasize these interactions as processes different from a logic of lineage and
resemblance.3 I argue that music offers a singular milieu for actualizing and thinking about an ontology of change, effects of becoming, and their promise for life.4 The shift is from construing music as a text-as a passive bearer of qualities-to re-activating and engaging music in differentiating temporal processes and affiliations.5 Actualizing an “in-between,” in the middle of things without being contained by them (moving between conditions and/or upper and lower limits), articulations of becoming and remembering engage aesthetic zones of asymmetrical exchange (contagion, infection) in which something of one passes into another. Encountering musical difference as expressive, productive, and affirmative in temporally and metamorphically changing relational dynamics of subject, frame, and other(s) actualizes the new and unforeseen. The play of perceptual/experiential orientations becomes alternately variable and multiple, temporally retroactive, successively and simultaneously moving (left-to-right/ right to left and front-to-back/back to front). Music’s discerning aesthetic becomes multidimensional, configuring the social, ethical, and political.