Članek se ukvarja s temeljnim konfliktom srednjeveške glasbene kulture, celo vsevropski kulturni zgodovini nasploh. Po eni strani glasba deluje kot utelešanje ritualnih in ceremonialnih potreb, kot ...alternativna življenjska forma, kot "realno" Drugo: menihi, ki so izvajali korale, so se čutili enake angelom (Amalar iz Metza); kralj, ki je obiskoval katedralo, se je imel za "typus Christi", povzdigovanega in slavljenega z zvoki umetelnega večglasja itd. Po drugi strani so, vsaj od 11. stoletja, obstajale pomembne tendence proizvesti glasbo z umetnimi metodami, z rabo posebnih oblik pisanja in zunanjega predmetnega shranjevanja. To dejavnost so označili kot "componere" oz. "compositio". Teza članka je, da sta obe paradigmi - utelešanje in zapisovanje - po svojih globinskih kognitivnih strukturah nekompatibilne. Čeprav je srednjeveška glasbena zgodovina obe razvojni potezi poskušala harmonizirati, se zdi, da je "rojstvo kompozicije" en od najpomembnejših vzrokov za propad ritualnosti in zmagoslavje oznakovane glasbe, označevanja in reprezentacije.
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