This contribution elaborates on this distinction by arguing for an experientialist as against a merely conceptual-symbolic approach to music. The latter approach is characterized by ‘distancing’ and ‘polarization’ between the listener as a subject and the music as an object, to use object Werner’s and Kaplan’s terminology; the former approach is ‘dynamic-vectorial’ and ‘directive’ by its very nature, stressing the field of pointing rather than the symbolic field of meaning. This field of pointing—also called the deictic field of meaning—is an interesting frame of reference. It provides operational tools for the listener’s making sense out of the perceptual flux by raising two major questions: what are the entities he/she is pointing at and how does he/she delimit the denotable things as signified. The questions are related to listening strategies rather than to an objective analysis of the music, taking seriously the idiosyncrasies of individual listeners and their individual listening learning histories.