ABSTRACT
The musical produces associations that may be founded on anthropological grounds and, therefore, be situated beyond cultural alterities or beyond the specificity of any artistic language. In this respect, they certainly join the substratum of the universal and trans-cultural, which presently challenges post-modern musicology by looking at the artistic, cultural and musical presence of the Human. The powerful idea of Raymond Monelle is to recall that, on one hand, such a correlation does exist to the extent that it is based on conventional associations established between certain styles or certain musical themes. The musical work, as a text, assumes responsibility toward texts contemporary with its own literary or artistic tradition, in relation to which it must be positioned. At the conclusion of the authors' contribution, rather than extending or reporting, people would like to capture tensions that exist between certain positions of Raymond Monelle, which, throughout this text, have stimulated the authors' own reflection.
