Models

Among the possible universals of music is the practice of the model. But this is a universal whose sonic nature is not immediately obvious, and whose definition is not easy. If we were to give this term the most general meaning, including both structural and abstract meaning (algorithms, rarities, chord charts, etc.) and the relationship of exteriority which both serve as a guide to homo musicus, the subject would risk losing all specificity, becoming confused with musical activity as a whole. Indeed, as soon as the musician becomes aware of a sound form that is more than a sequence of moments, he refers to a model, in this very general sense. Even if we limit ourselves to an external relationship, whereby the inventor or actor of music consciously refers to a pre-existing organisation, which he adapts, translates, extrapolates, digests etc., in order to produce his own musical organisation, other formidable problems arise. Again, it is necessary to admit this opposition between the internal and the external, that is to say, to consider that not everything is music from the start.