It is common to oppose formalist and referentialist approaches to music. However, in Francis Dhomont's work Points de fuite, these approaches appear complementary when we consider the relationship between sounds and sources. Adopting the analytical approach of the American theorist Leonard B. Meyer, we show how the syntactic flow of Points de fuite generates formal implications through the impact of tension and relaxation archetypes. The piece explores metaphors based upon recurrent anecdotal events – the recorded signifiers of the source. These extra-musical elements define the work's structure to such an extent that they eliminate the traditional gap between formalism and referentialism in music.