It is quite natural that we should tend to conceive music as lying within the sphere of play […]. Making music bears at the outset all the formal characteristics of play proper: the activity begins and ends within strict limits of time and place, is repeatable, consists essentially in order, rhythm, alternation, transports audience and performers alike out of “ordinary” life into a sphere of gladness and serenity, which makes even sad music a lofty pleasure. In other words, it “enchants” and “enraptures” them. In itself it would be perfectly understandable, therefore, to comprise all music under the heading of play.
Quotes by Johan Huizinga
Magic and mystery, heroic longings, the foreshadowings of music, sculpture and logic all seek form and expression in noble play. […] In play, therefore, the antithetical and agonistic basis of civilization is given from the start, for play is older and more original than civilization.
The arena, the card-table, the magic circle, the temple, the stage, the screen, the tennis court, the court of justice, etc., are all in form and function play-grounds, i.e. forbidden spots, isolated, hedged round, hallowed, within which special rules obtain. All are temporary worlds within the ordinary world, dedicated to the performance of an act apart.