In the traditional system we could clearly perceive these three levels of musical language. The “acoulogical” stage, so well integrated that it seemed almost immutable, with no possible variants, was a certain number of sounds given by a well-determined range of instruments, which defined a “musical” totally purged of the “sonorous:. Then there were the structures given by musical theory and […] the whole melodico-harmonic code […] which of course gives rise to the entire traditional system of reference. Finally, there were the works, their meaning guaranteed by their internal economy (Schaeffer 1966: 626). SCHAEFFER, P (1966) Traté des Objets Musicaux Paris, Éditions du Seuil.