The article deals with the ontological status of the invariant in the art of music. The existential layout of the invariant depends on the scale of artistic phenomena, in relation to which it is being searched for. On the example of three influential models of the invariant of music presented in the works of E. Kurt, H. Schenker and Yu. N. Kholopov, the article provides an analysis of an extremely generalized invariant of music. Invariant properties permeate the structure of musical sound and provide the ability to perceive music as a meaningful sound, in contrast to acoustic phenomena of a different origin. The construction of the invariant of musical art requires taking into account the hierarchy of scale levels of musical creativity, perception and thinking. Taking into account this requirement, dynamic models of the music invariant are built, in which the invariant at each subsequent stage of generalization of its properties does not nullify the originality of its implementations at the previous, local levels, but absorbs their features in a collapsed form. Thus, the invariant, no matter how abstract it may seem, keeps our ideas about music in the realm of the real and gravitates not so much towards interpretation as towards verification. And the procedure for verifying the properties of an invariant every time refers to the search for cause-and-effect relationships, with the help of which the selection and consolidation of autonomous local structures with common properties is carried out.