Music and communication Understanding music involves interpretive translation across frames of reference, with music arising as the result of interaction (at some level) among composer(s), performer(s) , and listener(s), all broadly defined. Music, as a form of communication, is possible only when the parties involved share some common explicit and implicit knowledge. A musical behavior, relatively consistent and meaningful. Although a message always implies an intent, communicated messages can be and often are different from intended messages, especially in the case of music with its a-referential (or better self-referential) potential. In addition, although some degree of shared knowledge is necessary for efficient communication, each communication event will always involve some degree of un-shared knowledge, explaining partly why there is no isomorphic relationship between a composer's intended message and a listener's constructed message. The term 'constructed message' implies that listeners are not passive observers being effected by music. "Listening to music" means "configuring music." The act of listening involves a configuring operation that turns a series of incoming sounds into "meaningful" patterns, relationships, temporal wholes. Listeners will always strive for pattern recognition and may identify patterns that were not intended during composition, even in the extreme case when no patterns were intended at all (e.g. aleatoric pieces of music, environmental sounds, etc.). It is this endless potential for new organizations and meanings to be discovered, by means of listening, that permits sonic works to outlive their composers, era, style, intensions, and cultural context during creation. Sounds alone can constitute music or sound art if they are complex. The listener is the agent through whom sounds and sound combinations are elevated into music/art; the composer of a work can be considered its first listener and, in some respects, this may be where his/her privileged status ends.

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