Despite the steady production of new means and offerings made available at an ever increasing rate by technology and culture, it is questionable whether the concept of musical expression as a manifestation of the path to inner perfection that absorbs the artist throughout his training, is still current. This concept is not only a legacy of Western civilization but of basically all cultures and eras. If this discourse can be applied to performers (interpreters), whose professional activity requires an ever more frenetic pace, all the more reason that it relates to composers (creators) who need time and a suitable environment so as to develop freely a personal aesthetic journey and its own expressive language. Convinced of this, the artist must consider his most important responsibility to be that of organizing his work in such a way that the development of the complete idea is not sacrificed. Conversely, we are witnessing more and more often the distressing spectacle of musicians who are willing to sell their inner freedom, rather than giving up the minimal, nonetheless ephemeral recognition.