This article explores new ideas towards qualitatively exploring and writing about musical creative processes within different domains. The inspiration for the theoretical points made are from the world of music and the practices of musicians, but the analysis and conclusions of the article discusses musicality as a general phenomenon. It is part of an ongoing research project within cultural psychology, seeking to understand how creative processes develop in dialog with the physical, social and cultural surroundings. Using the example of the music performance and music festivals, the article specifically discusses how ephemeral, social, emergent phenomena depend on musicality in creative processes. The article describes, how both a technical, mathematical and an ambiguous, poetic language is relevant when describing and writing about musical creative processes. Further, it argues how written studies of musically emergent, creative processes demands a close, dialogical relationship to the specific domain, beyond e.g. the phenomenological interview approach - a relationship, enabling the researcher to speak and write freely about musicality within the studied field, actively participate and engage with the processes around the explored phenomena with intuition, engagement and, essentially, musicality.