 At the base of the musical experience seem to be (i) the experience of tones, as opposed to mere pitched sounds, where a tone is heard as being in “musical space”, that is, as bearing relations to other tones such as being higher or lower, or of the same kind (at the octave), and (ii) the experience of movement, as when we hear a melody as wandering far afield and then coming to rest where it began. Roger Scruton (1983; 1997: 1–96) argues that these experiences are irreducibly metaphorical, since they involve the application of spatial concepts to that which is not literally spatial. (There is no identifiable individual that moves from place to place in a melody (S. Davies 1994: 229–34).) Malcolm Budd (1985b) argues that to appeal to metaphor in this context is unilluminating since, first, it is unclear what it means for an experience to be metaphorical and, second, a metaphor is only given meaning through its interpretation, which Scruton not only fails to give, but argues is unavailable. Budd suggests that the metaphor is reducible, and thus eliminable, apparently in terms of purely musical (i.e., non-spatial) concepts or vocabulary. Stephen Davies (1994: 234–40) doubts that the spatial vocabulary can be eliminated, but he is sympathetic to Budd’s rejection of the centrality of metaphor. Instead, he argues that our use of spatial and motion terms to describe music is a secondary, but literal, use of those terms that is widely used to describe temporal processes, such as the ups and downs of the stock market, the theoretical position one occupies, one’s spirits plunging, and so on. The debate continues in Budd 2003, Scruton 2004, and S. Davies 2011d.