This artistic research aims at re-evaluating the role of the interpreters in music by enhancing their creative involvement within composition, and questioning the current tendency of reducing the ‘dialogue’ between interpreters and composers to the practical (and hermeneutic) relationship through the mediation of a written score. Therefore, the notion of textuality in music must be re- examined in order to extend its meaning beyond the limitations of traditional notation, to encompass other layers related to orality that give rise to a redefined text. Furthermore, new strategies are to be developed in collaboration with interpreters to enhance the uniqueness of performance, by working, for example, with the creative possibilities of their perception and memory applied to composition. A fundamental aspect of this research entails the analysis of multimodal communication systems within the paradigm of collaborative/co-creative encounters between interpreters and composers. While there are studies on multimodal communication in musical contexts, the majority of these focus on cases from masterclasses, pedagogical contexts, and rehearsals. However, multimodal communication in the relationship between interpreters and composers has not yet been the subject of in-depth study, especially in relation to the analysis of the moment of musical creation, in which practices of collaboration, research and/or co-creation can be developed. Consequently, this research seeks to broaden existing scientific studies in this domain. It is important to note that this theoretical approach is in continuous dialogue with the researcher’s own artistic practice, since the methodologies developed with and for the interpreters are found and applied in a series of case studies consisting of new compositions closely conceived alongside the interpreters.