There was a satyr named Marsyas, so pleased with his skill at playing the aulos, a reed instrument recently invented by Minerva, that he challenged Apollo to a music contest, to be judged by the muses. For Apollo, music is research, an inquiry into systems of correspondences. Music and astronomy are similar investigations of the proportionality of the cosmos: for, according to the Pythagorean tradition, the pitch-ratios of vibrating strings are direct analogues of the ratios of the crystalline spheres on which the planets and the stars whirl. The voice of Marsyas is continually heard in twentieth-century music. Marsyas the seducer appears in Murphy ; Marsyas the screamer appears in Beckett’s last full-length novel, How It Is. Hot music plays an important role in Beckett’s writings; but so does cold music, the music of Apollo. In the mid-1920s Schoenberg tired of being Marsyas and decided to be Apollo. Earthlight is extraordinarily sensitive to the music latent in Beckett’s adventurous syntax.