Abstract: In some musics, music and silence together in absolute solidarity, constitute a larger, yet equivocal, space that could be qualified as imaginal. Keeping in mind Henry Corbin’s definition of the mundus imaginalis, in this article, we discuss what “musical space” is, how it gets generated, or constructed, within the composition, and how it becomes coextensive – for the duration of the musical piece – with the listener's interiority.
