 The acousmatic thesis is a limited view about which aspects of the things one can auditory experience are aesthetically significant. These include audible aspects of sounds themselves, but exclude, for example, other contents of auditory experience. However, room exists for debate over the aesthetically significant aspects of what you hear (see Hamilton 2007, 2009). For example, one might argue that live performances have aesthetic advantages over recordings because one hears the performance of the sounds and songs, rather than their reproduction by loudspeakers (cf. Mag Uidhir 2007). Circumstances of sound production, such as that skillful gestures generate a certain passage, or that a particularly rare wood accounts for a violin’s sounds, might be aesthetically relevant in a way that outstrips the sounds, and some such features may be audible in addition to sounds. For instance, hearing the spatial characteristics of a performance may hold aesthetic significance beyond the tones and structures admitted by traditional accounts of musical listening. Composers may even intend “spatial gestures” among aspects essential for the appreciation of a piece (see, e.g., Solomon 2007). To imagine auditorily experiencing the spatial characteristics of music in a way entirely divorced from the environmental significance of the sounds is difficult. Appreciating the relationship between experiences of sounds and of sources makes room for a view of the aesthetic value of musical listening that is more liberal than acousmatic experience allows.