 One might go further and hold that sounds are all that matters in music. In particular, some have argued that appreciatively listening to music demands listening in a way that abstracts from the environmental significance, and thus from the specific sources, of the sounds it includes (Scruton 1997, 2–3). Such acousmatic listening involves experiencing sounds in a way that is “detached from the circumstances of their production,” rather than “as having a certain worldly cause” (Hamilton 2007, 58; see also Hamilton 2009). Listening to music and being receptive to its aesthetically relevant features requires not listening to violins, horns, or brushes on snare drums. It requires hearing sounds and grasping them in a way removed from their common sources. Hearing a high fidelity recording thus furnishes an aesthetically identical musical experience despite having a speaker cone rather than a violin as source. “The acousmatic experience of sound is precisely what is exploited by the art of music” (Scruton 1997, 3).