 Before presenting a-spatial theories, let us conclude the discussion on the spatial theories of sound by adding that they all share the assumptions that reflections on the spatiality of audition are crucial in order to tackle issues on the metaphysics of sound—that is, we can say what sounds are when we know where they are located (Di Bona 2019). Moreover, considerations on the spatiality of audition and sounds are also important to understand the segregation of auditory streams—which constitute the auditory landscape—and the experience of some musical compositions (2019). Finally—despite the remarkable difference between the spatiality of vision and the spatiality of audition due to the fact that, in audition, we perceive where sources are, the space between us and the sources (O’Callaghan 2010b) and the space between the sources, whereas, in vision, we perceive also where objects are potentially to be seen (Nudds 2009)—spatial cues can also enter the auditory content and provide info on the volume of empty space, especially when derived from reverberations produced in a specific closed space (Young 2017).