ABSTRACT
Schopenhauer, putting the case in its strongest terms, remarks that music is "perceived solely in and through time, to the complete exclusion of space," thus making explicit the opposition between time and space and ruling out the latter as a possible area for legitimate musical experience. Yet anyone familiar with the philosophical and theoretical literature dealing with music must be struck by the persistence with which spatial terminology and categories appear. Indeed, it would seem to be impossible to talk about music at all without invoking spatial notions of one kind or another. The extent to which music can properly be said to be "spatial" — or, put differently, the question of the existence and attributes of something called "musical space" — is a problem that has long concerned aestheti-cians. Variations in texture constitute one of the most important and readily observable features of musical development, and they produce an effect that is unmistakably "spatial" in quality.
