[A1113] The problem of the composition is historically and locally determined by the set of relations that bind the company to a given set of internal relationships between sounds. The technical study of any 'system' (tonal, serial, Indian classical, etc..) Is still studying the composition, as long as attention is not directed towards the functions exercised by that system in society which has led to their evolution, or in a society that for whatever reason it resumes. This would seem to contradict the traditional study, especially nineteenth-century composition, when learning of harmony, counterpoint, forms, etc.. was the only legitimate purpose of the study, which was justified by the specific place in a sense extra-(super-) occupied by Art Social (other than the justification for six-eighteenth century, the descendant of a specific concept of craftsmanship). In truth, apart from the fossilizations conservatoire, in the past the relationship between social system and its use were at the heart of the issue of composition, as evidenced by the total availability and the system works and that the status, only the technical aspect of the problem coincided almost entirely with the technique intrinsic to the system (for optimal integration into the socio-cultural context of the functions), then study and develop one o'clock meant to act automatically on the other. Not so today, where, being arbitrary, that is not socially bound and binding, the choice of the system, the technique it is intrinsically a private consequences of this choice, while the compositional problem, that of musical communication within the company, remains open in all its aspects, including technical
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