ABSTRACT
Utilising the concept of haecceity as originally developed by the medieval-scholastic philosopher Duns Scotus, and subsequently utilised by Gilles Deleuze, this chapter will set out the philosophical position for a creative and potentially transformative interiority. It will set out the notion that the external form of music – with its eclectic styles and rhythms – can initiate and invoke a chaotic myriad of malleable meanings, that shift and transmute as they enter the interior and private world of imagination. Music in this sense consists of multiple and non-coincident durations. The strange debris of musical traces that echo and resound in the terrain of interiority, manifest as a cacophony of extramusical fecundities; an inner tapestry of hermetic possibilities that hue the sanctuary of everyone's inner world. The interior space of the fold with its haecceitous murmurs thus gestates alternative, unpredictable, and unique iterations. As triumphal echoes of misrecognition, musical haecceities are hieroglyphs, loaded with an expressive potential for liberated growth and transformation as palimpsests of hope and latent redemption, they facilitate emergent stories of natality, of alternative possibilities and new meanings, for each subjective biography.
