2.0. What do games and music have in common? A brief history of practices 


Play is seen as a broad category of behaviour, as basic in its phenomenology to smart complex animals as sleep and dreams, and as scientifically enigmatic.1

At a first glance, it can be seen how games and music exhibit numerous shared qualities, rooted in the essence of human expression. Emerging from our primal instincts, both come intuitively to human beings, and both share some structural elements and patterns in their form. Originating as group experiences yet also offering opportunities for solitary enjoyment, they both are deeply ingrained in our social fabric, while also contain excitement being pursed alone. Moreover, both are vehicles for creativeness while also meeting the demands for playfulness and amusement.

Yet, at the same time,  there are also notable differences: music has become an integral part of Western cultural life, with all the "elevated" recognition that comes with it. In this context, music assumes a distinct role within society, categorized as an art form, a designation that games typically do not share. Games are often considered activities related with kids and youth, while musical expertise is often considered a specialized skill developed over time through exposure and study. While it can be hard for music to be considered as a “serious matter”, it is certainly harder for games to be taken seriously.  They are often perceived primarily as delightful entertainment, while musical practice maintain a distinguished position among artistic disciplines. This dichotomy clearly entails a distinction based on class divide within specific cultural setting, separating the artistic aspects of life from recreational and ludological pursuits, but it cannot be omitted from such an analysis.
Additionally, their mediums differ significantly: games typically require simple tools (such as a wall, a line, a net, or a basket), whereas music performance more demands technologically advanced instruments. Even the most punk scenarios necessitate some form of equipment, be it a radio, a guitar, or amplification, unlike the minimal requirements of a baton or a ball. Delving into their similarities and distinctions may help the establishment of a definition or, at the very least, the delineation of a useful field of action.

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