Márquez names the hair of the young woman in the crypt, Sierva María de Todos Los Ángeles, as the inspiration for the novel. Dominga de Adviento's promise of the girl's hair to the saints links it inextricably to Sierva's acceptance into the black slave community. It also represents the only thing about her life over which she seems to have any control. After it's cut during her exorcism, it begins to grow back, gushing "like bubbles" (147) from her lifeless head.

Music has many valences in the novel. It first enters via the chorus of madwomen at the Divina Pastora, whose singing provides the "lullabies" (34) of the Marquis' childhood. The morning and evening prayers of the convent mark the passing of Sierva's days in captivity. The Marquis' first wife, Doña Olalla, brings musical training with her from Spain and teaches him to play the theorbo. When the Marquis tries to bond with Sierva, he brings out the dusty instrument and plays her a song that makes her ask whether "love conquered all" (49). Later, when Father Delaura comes to ask the Marquis about Sierva pre-possession, the Marquis plays the song for him and its melody reveals more about Sierva than words ever could.