I spent my early audio life functioning mainly with audio that used-like representational art--some pair of common musical events to create their effect. There are numerous vocabularies of track, counterpoint, flow, harmony, and design that position audio in a context of sort which makes it comprehensible to listeners. "Comprehensible" is not properly what I mean--it implies that music communicates just intellectual ideas, whereas in reality,
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it provides and conveys a complete array of a few ideas, emotions, sensations and associations. But there's an element of "intelligibility" to mainstream types of audio that depends on a shared formal vocabulary of expression. You will find common things that listeners use to point their real-time experience of a composition, formal or sonic aspects that are borrowed from other pieces produced and heard in the past.

When I find myself humming a song from the Beethoven symphony, or invoking among its characteristic rhythms (dit-dit-dit-DAH), I lower a complex sonic tapestry to an abstraction, a shorthand that is easily recognizable to the others acquainted with the music. I could manage to share a musical thought with other musicians using the abstraction of notation

.But a "tune" is not really a "tone," and a "note" is not just a "sound." It is an idea, actually a powerful idea, but when I discover myself singing the tune, I understand that I have in some manner "consumed" the audio, paid down it to a part of its conventions, deconstructed and reconstructed it for my own, personal purposes.

To a good degree, the virtuosity of the musician-often an essential aspect in different music genres--is changed, in the ambient music earth, by the skill of the composer in making and shaping the sound. Gradual tempos are common, and arpeggiators and sequencers obviate, to a sizable stage, the requirement for surrounding artists to develop sophisticated keyboard skills.