Music is a multifaceted, pluridimensional notion, with complex dimensions. It is governed by the written tradition and/or oral which defines it creation of rules, but also its practices, usage, symbols, meanings and stakes. It is a form of organization of so-cial behavior and communications. It is a culture of life, but also social representating, sharing and exchange. Of its shares, refer-ences and many achievements result all kinds of speeches and descriptions, through which broadcast also varied musical and extra-musical knowledge. By this knowledge also define the characteristics identities. How to translate such a polysemic reali-ty? To date, analyzes of scholarly musical thought wester-nized tools to study the prevailing various world music. These analyti-cal methods are not always suitable to elucidate the true nature and reality of oraliture music. Attempting to meet this challenge requires that we dedicated to new analytical experiments. This is the task that I am working here, through the study of cases from the sub-Saharan and Caribbean Guyana music, which will serve me of illustrations.