Drawing on the work of Clifford Geertz, the introduction proposes that music and sound are thick events that are reduced through an artificial division of the senses and attendant concepts. A focus on the sound of a falling tree exemplifies both this division and an encultured conceptualization of the event. Moreover, the introduction proposes that Christopher Small’s term musicking much better captures the multimodal reality of singing and listening. Building on these two concepts, the chapter considers interconnections between the senses in order to deconstruct music’s naturalized parameters, including the privileging of air over any other medium of sound propagation; the predominant idea that sound’s behavior should be understood in linear, visual terms; the presumption that sound is stable, knowable, and defined a priori; and the belief that music deals in the currency of sound and silence. Finally, the chapter proposes a relational ethics based on intermaterial processes of vibration.