Exactly from the Dutch anthropologist the origins of games studies seem to start. Homo Ludens by Jonah Huizinga is one of the most fundamental books on the topic. In the foreword of his book, Johan Huizinga mentions that he is referring to the play element of culture rather than the play element in culture, to underscore his broader and more fundamental perspective. By focusing on that, he is not limiting his exploration to specific instances of play within cultural expressions - instead, he is delving into the deeper, foundational role that play has in shaping culture as a whole. The distinction suggests that Huizinga is not merely interested in examining games or playful activities as isolated phenomena within a culture. Instead, he seeks to explore how the fundamental concept of play permeates and influences various aspects of human civilization, contributing to the development and structure of culture itself. This approach allows him to address the broader implications of play in shaping societies, institutions, rituals, and other cultural manifestations. This approach is very wide and omni comprehensive, as the book indeed embraces a wide range of issues related to all aspects of humanity, analyzed through the lens of play. Some chapters face the role between nature and significance of play as a cultural phenomenon; some dive into the concept of play within the language, as well as games and civilizing functions, games and war, games and law and so on. One entire chapter is dedicated to games in art, even though mainly focused on poetry which, for him, is “a play-function”. In this vision, the creativity is the tool of play that engaged in games in the playground-mind. However, he also acknowledge that “the same is true, and in even higher degree, of the bond between play and music”.1 

Huizinga gives is the identification of 5 characteristics that play must have:

1. Freedom is inherent in play, it represent its esesence;
2. Play exists in a realm separate from the constraints of 'ordinary' or 'real' life;
3. It occupies a distinct space, both in terms of its physical location and its temporal duration.
4. Within the realm of play, order emerges and becomes fundamental to the experience.
5. Play not only fosters order but demands it in its purest form. It remains detached from material interests, offering no avenue for profit or gain.2
   

These statements confirm the prior thoughts. As mentioned, it is not easy to compress all the different qualities of a game into just one term. Engaging in play encapsulates the essence of freedom, representing a realm where constraints dissolve, and individuals find themselves liberated from the shackles of routine. It stands apart from the canvas of "ordinary" or "real" life, carving its distinctive space both in terms of locale and duration. Play, in its immaterial nature, thrives in realms unbound by the constraints of everyday existence. Within the domain of play, a unique order unfolds—a structured chaos that is simultaneously spontaneous and intentional. It demands an order that is absolute and supreme, where the boundaries of imagination are pushed, and creativity reigns supreme. Play, in essence, becomes both the creator and the embodiment of order. Crucially, play operates in a dimension divorced from material interests. It stands as a sanctuary where the pursuit of profit is rendered irrelevant. The intrinsic value lies not in tangible gains but in the sheer joy, exploration, and expression that arise within the play experience. It is a celebration of the intangible - a feature characterizing another art that will be taken in consideration soon - as a space where the richness of human experience is measured not in material worth but in the depth of moments created and shared. It is a fundamental quality to be more often remembered in such uncertain and busy times.

It is worth noting Umberto Eco's preface to Huizinga's Homo Ludens, found in one of the most popular Italian editions of the book published by Einaudi. In this preface, Eco highlights how Huizinga's considerations overlook the opportunity to delve into the distinction between play and game. It is intriguing to consider that this observation comes from an Italian perspective, where both words are translated as "gioco," unlike languages like German and French. However, Eco, being deeply immersed in linguistics and epistemology, offers a nuanced review of language that sheds light on the differences between these concepts. For Eco, play represents the playful activity itself, while game refers to the system of rules and mechanics governing play.

This distinction holds significant importance in this analysis as it could contribute to a preliminary categorization of polarities, particularly in terms of medium. Distinguishing between "play," which encompasses behavior, and "game," which pertains to a structured system of rules, could prove highly beneficial when analyzing musical performances. The boundaries between these attitudes and structures can often become blurred. "Play" encompasses the behaviors exhibited during musical performance, including improvisation and the general approach to specific techniques, sometimes associated with the enjoyment of music as a source of fun. Conversely, "games" refer to pre-determined structures that dictate specific dynamics, which may operate independently of the playful nature of the outcome, although playfulness is often inherent within them. Given the fundamental similarities between music and games, it is crucial to acknowledge these methodological distinctions and recognize their boundaries. Otherwise, there is a risk of regarding all music as merely "a game," which, while true to some extent, may obscure the nuanced differences between various musical typologies. Therefore, it is more fruitful to examine each typology individually, contrasting their unique features in detail.

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