Everyone agrees that musical works are individuated by essential elements such as tone, harmony, and rhythm. Some argue that timbre or instrumentation is an essential element of some musical works, too. I argue here that there is a further essential element of some musical works: spatial location. Some works of music are partly constituted by the location and motion of their sound sources. I begin by describing works of spatial music and arguing that they exist. I then consider the implications for the ontology of music. Hardcore formalists cannot allow for spatial music. I argue that two other views, which allow a close relationship between sounds and musical works, can allow for works of spatial music. However, their ability to do so turns on issues in the philosophy of sound. I appeal to work in the philosophy of sound to show that music is an art not just of hearing, but of sounds. Musical elements can be located just like sounds are located.

中文翻译：

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空间音乐

每个人都同意，音乐作品是由音调、和声和节奏等基本要素所个体化的。一些人认为音色或乐器也是一些音乐作品的基本元素。我在这里认为，一些音乐作品还有一个更重要的元素：空间位置。一些音乐作品部分是由其声源的位置和运动构成的。我首先描述了空间音乐作品并论证它们的存在。然后我考虑对音乐本体论的影响。铁杆形式主义者不允许空间音乐。我认为另外两种观点，允许声音和音乐作品之间存在密切关系，可以允许空间音乐作品。然而，他们这样做的能力引发了声音哲学中的问题。我呼吁研究声音哲学，以表明音乐不仅是听觉的艺术，而且是声音的艺术。可以像定位声音一样定位音乐元素。