… The conservation of matter or energy does not apply here.
Last post from Listening and Voice: Phenomenologies of Sound second edition by Don Ihde (2007):
… One of the first aspects that began to stand out in relation to this phenomenon [of listening to music] was the fragility of the musical phenomenon. Within the global field of auditory phenomena, sounds of all types are present. This very fact complicates and acts to the detriment of musical presence. It becomes impossible, in ordinary contexts, to secure an exclusive focus on music because of the global presence of sound.
… imagine a living room in which a stereo set is playing. By first attempting to concentrate as exclusively as possible on the music we become aware that a manifold of other noises intrude on this project. Our very project makes these noises explicit in such a way that from their previously ordinary presence we now discover they have been implicit. The focus of attention upon the music makes the other noises appear as distractions — but they also stand out in more vivid fashion. In attempting to listen to music for itself we become more rather than less sensitive to introducing noises. As purists each minor distraction becomes apparent, each scratch, each external noise distorts the music itself.
This fragility of music increases in direct proportion to the concern of attention “toward” it — and paradoxically the fringe noises of the environment begin to benefit from the attention toward music presence. Auditory phenomena intrude into my awareness.
… What is to be noted concerning the above phenomena is that the previously submerged noises do not intrude as a result of gesturing “toward” them. In the auditory realm our focusing, which should effect an exclusion, negates itself and produces the contrary effect of increased vulnerability in an increased openness to the environment’s total presence. Not content with the situation, we begin to notice a series of exercises designed to correct the problem. These exercises, which may be called the “Shh — be quiet!” phenomenon, begin to indicate the direction of auditory gesturing.
For example, if one wishes to itemize the auditory environment a positive act is one which gradually or suddenly calls for more and more quietness. One gestures “away from” sound “toward” silence. And the more effective this gesture-direction becomes, the more one realizes silence, the more radical the intrusions of formerly unobtrusive auditory disturbances become.
… Silence is the “space” of music. The “motion” that occurs in music is the motion through silence. In (visual) space, movement is a matter of displacement, relocation, or “matter” that is always someplace, comes from someplace, and goes somewhere. In music sounds come “from silence” and “return to” silence.
… The conservation of matter or energy does not apply here. At base this coming-to-be from silence from which music stands out shows the “space” silence of sound as possibility. Silence is nothingness but nothingness is sheer possibility.