Is music something out there? A kind of artefact that is reified or objectified, and that can be dealt with in a static way? Or does it rely on processes which call forth interactions with the sounds? Should we conceive of music users besides the music, and think about music as something which is perceived, conceptualised and enacted upon in order to be meaningful? And if so, what is the role of the body and the mind in this process of sense-making? This paper tries to answer these questions by introducing a theoretical framework that leans heavily on the seminal writings of John Dewey, William James and Jakob von Uexküll, together with empirical evidence from current neurobiological research. Its central focus, however, is on the role of musical experience and the way we make sense of it (see Blacking, 1955, Määttänen, 1993, Reybrouck, 2004b, Westerlund, 2002).