Abstract
The role of science in the processes of musical creation is justifiable as a method of formalizing knowledge used for expressive purposes. The understanding of musical phenomena, however, should not be reduced to cognitive aspects or entrusted to a purely descriptive iteration; certain creative functions of musical composition go beyond the many degrees of control offered by the technologies of knowledge. The necessity of comparison with the cultural orientation of an audience, sometimes considered secondary by some, must remain integral. Our interest in qualitatively new creative and intellectual acts must not abandon the dialectical character of musical communication, which involves, among other things, a shared linguistic universe.
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