In fact, it turns out to be always in perfect harmony with the socio-anthropological progress that the history of the West shows: from the Greek alphabetical notation, mirror of the Logos of the ancient philosophers, to the medieval necessity of accurately transmitting the repertoire of liturgical chant ad maiorem Dei gloriam. Furthermore, the transposition of sound manifests itself starting from scientific rationalization, and arrives at the raising from an almost servile condition to an almost sacred one of the archetypal figure of contemporary individualism: the composer. These, through the notation now reached its full maturity, can finally propose its musical legacies, passing them to posterity in the form of a written work. In this way, music can finally be understood not only as a performer's performance, but also as a composer's monument and testament.

The writing of sound in the West, therefore, aspires to combine the rigor of musicological study with a rare interdisciplinary openness in literature, proposing ample excursus ranging from Greek philosophy to Italian literature, from mass media sociology to the intricate philology of the Requiem of Mozart, arriving at the birth of the MIDI protocol and the operation of applications to write music on the computer.