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There is no fixed limit where sound ceases to be only “sound” and will be “music". In different kind of sound-art or electro-acoustic music, we see this clearly, but in a different way also in other music. Nevertheless, from a western musicological perspective there are certain types of sounds that are musical. Even if we, for example in Frank Zappa’s recorded works, often find long sections with clean dialogues we could hardly consider dialogues to be musical if they were isolated. They become music only when they are part of a musical context. What is it that conceptually creates music? Of course, such things as melodic, rhythmic, polytonal, polyphonic or other harmonic, instrumental or vocal structures. Although the limits between sound and music, music and non-music, will always be problematic, a specific element can be said to give a specific key to which organized sound is perceived as musical structures: The virtual, imaginary roominess, the spatiality. The importance of the spatial roominess has been underestimated in musicology as a symbolic, sounding and compositional component of music. Before the days of recording technology, it was obvious that music was always played in real places and premises. On the other hand, it is obvious that in recorded music the spatial roominess will be different from live music roominess. In the same way as the drum-beats on a disc with jazz or rock music not mainly is there to serve as a simple metronome for the other musicians, but fulfils an essential musical function, the virtual roominess on a music recording is not only the residue of music reflections against the walls of the recording room. The place and the roominess have real meanings. The represented, recorded three-dimensional spatiality may in particular have a real musical importance when connected to the fourth dimension, namely the flow of time. This musical room-time can be homogenous but also heterogenous, it may contain unity-rooms or multi-rooms. The imaginary rooms may represent the acoustic room in which music sounds, but also a resident internal, mental place, or combinations of these. Thus, in recorded music it is possible to use parts of representations of physical and/or imaginary positions of the listening subject in the room or use the internal awareness of a musical thinking subject in room-time. In the same way as music can be embodied, the imaginary spatiality and roominess of musical recordings can be seen as an expression – both for represented embodiment and for a represented internal awareness – and its positions in the room-time. The presentation will contain sounding examples from various genres.