This article is based on two complementary definitions of the music video: as a media and cultural format on the one hand; and as a principle of musical and visual creation on the other hand. The main hypothesis of our paper is that we can’t fully understand the global phenomenon of the music video if we fail to raise the issue of its expressive singularity—that is, if we continue to consider music video as an audiovisual message as any another, to reduce it to its semantic content and to ignore the particular aesthetic experience it provides to its audio-viewers: that of a specific association between music and images.