The Czech word hrát, Greek paízo, Yiddish shpil, Amharic mech’aweti, Chichewa sewera, Thai lèn, Zulu dlala, Dutch spelen, Latin ludere, English play...

Those are only a few of many examples of languages that share one specific relationship. The multi-level homonymic principle of a word which describes the activity of playing. The fact that they all describe the activity of playing music, playing an instrument, playing sports, playing as a child does, playing games, playing in theaters...

This common denominator among these and many more languages should be at least striking if nothing else.

Why is that? Is it perhaps because there is some deeply rooted similarity, common space among all these activities being described with the use of a single verb? And is that similarity something worth paying attention to? And what could it offer to current musical practice to explore this phenomenon?

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This thesis delves into the intriguing relationship between the concept of play and the creation of music. It examines its diverse applications across different activities, including music-making, sports, games, and theater. By drawing on philosophical, cultural, and artistic perspectives, the thesis explores the origins and significance of play in the human experience with the link to music and improvisation. 

Central to the thesis is the recognition that play should not be seen as distinct from work. By rejecting the notion that play is non-serious, I contend that play requires complete attention and determination.