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While there is no longer doubt that musical sound production is strictly related to body gestures and motion, the fact that certain tools, or instruments, or gestures, or movements lend themselves more naturally to musical structures and expression than others remains a historical evidence which is still waiting for a fully satisfactory explanation. The author will not try to provide answers but rather sketch a set of possibly meaningful questions after a synthetic historical overview of specific musical instrument successes and failures. The essential conjecture that the author will try to outline concerns the role of physical impedance matching (and ensuing non-linearities in sound production) in musically endowed instruments (and playing).