Since the emergence of recording, music has been enriched by a multitude of eclectic practices inspired by the development of our knowledge of the musical phenomenon. With the multiplication of cultural transfers and the reconstitution of musical practices of the past, the word “music” itself, used in the singular, now seems very narrow to apprehend all the ways of thinking about the musical phenomenon through time and space. Within this protean musical knowledge, aesthetic reflection seems to have lost its legitimacy and cultural relativism has imposed itself as an explanatory solution. This article seeks to reconstruct the epistemological foundations of a way of thinking about musical phenomena as multiple processes but resulting from an unique apprehension of reality, an “aesthetic relationship” with its theorizations and historiographic constructions.