When we listen to music

 When we listen to music, we must distinguish between the experience of space in a metaphorical sense, that is, when we perceive the space suggested or evoked by the musical characteristics of a piece, such as melody, harmony, and rhythm; and the experience of physical space, which gives us spatial information that has to do with sound sources and the spatial region in which they are located. In analyzing the way we perceive space when we hear musical sources, I will focus on the experience of physical space. I will apply a model of the way we experience non-musical (or environmental) sound sources – a model that I will call the “matryoshka model” – to the perception of musical sound sources. The conclusion I will reach is that the spatial experience of non-musical sound sources and the spatial experience of musical sound sources are similar, at least with regard to those musical compositions in which space is used as a certain type of aesthetic medium. Furthermore, my analysis suggests that if we want to understand the difference between the musical experience and the experience of non-musical sounds in relation to space, we must focus on the experience of space in a metaphorical sense.

Explanation:

The author of the passage is discussing the two ways in which we can perceive space when we listen to music. The first way is in a metaphorical sense, as when we perceive the sense of height or depth that is suggested by the melody, harmony, or rhythm of a piece. The second way is in a physical sense, as when we perceive the location of the sound source in the room or environment.

The author argues that the experience of physical space is similar for both musical and non-musical sounds. Both types of sounds can be perceived as coming from a specific location, and both can be identified as coming from an object or group of objects.

However, the experience of metaphorical space is different for musical and non-musical sounds. Musical sounds can evoke a sense of space that goes beyond the physical information provided by the sound source. For example, a rising melody can evoke a sense of height, even if the sound source is actually at ground level.

This difference between metaphorical and physical space is important for understanding the difference between the musical experience and the experience of non-musical sounds. The musical experience is not just a matter of physical perceptions, but also of emotional and cognitive perceptions. The musical characteristics, such as melody, harmony, and rhythm, can evoke images and sensations that go beyond the physical information provided by the sound source.

For example, a piece of music that uses complex counterpoint can evoke a sense of complexity and movement, even if the sound sources are actually static. A piece of music that uses dissonant harmony can evoke a sense of tension and conflict, even if the sound sources are actually harmonious.

These differences between metaphorical and physical space are what make music such a rich and engaging experience. Music can evoke a sense of space that goes beyond our physical perceptions, transporting us to a new and imaginary world.

Additional notes:

• The author uses the term "matryoshka model" to refer to a model of how we perceive the spatial relationships between multiple sound sources. The matryoshka model is based on the Russian nesting dolls, which are a set of dolls that fit inside each other. In the same way, sound sources can be nested inside each other, with each sound source providing additional information about the spatial location of the other sound sources.
• The author suggests that if we want to understand the difference between the musical experience and the experience of non-musical sounds in relation to space, we need to focus on the experience of metaphorical space. This is because the experience of physical space is similar for both musical and non-musical sounds, while the experience of metaphorical space is what distinguishes musical sounds from non-musical sounds.