Regla y tiempo real

Rule and real time are the inescapable entities among which musical creation is generated. Contrary to certain idealizations that cloud the understanding of what we do when we make music, there is - at one end of the axis - improvisation and interpretation that do not depend to a greater or lesser extent on a predetermined normative framework. And, at the other extreme, even the most exhaustive set of instructions is always implemented in an unrepeatable real time, which makes music only a partially predictable phenomenon and, therefore, open to improvisation. Consequently, far from the exceptionalist inclinations both of some academic speeches and of certain supporters of what we usually call improvised music, this work indicates a relevant continuity between different ways of making music, a continuity often obscured by inattention or ideological smoke . All interpretation is, therefore, constitutively improvisative and, at the same time, dependent on a normative framework. If, finally, and against the hegemonic musical Platonism, we admit that "a musical work does not exist except at the moment of its performance", to put it in the terms of Vladimir Jankélévitch, it seems that we should contemplate without hesitation the possibility -by counterintuitive that It seems that every musical work is necessarily improvisational.These fascinating pages aim, from complementary disciplines such as aesthetics, musicology or art ontology, to clarify certain basic aspects of our musical practices and answer a series of questions about the tradition, nature and interpretation of the musical work that is not we usually do.