In this article, the author discusses the notion of an aesthetic of atmospheres. He discusses how the development of music in the twentieth century has led to a state of affairs where music's functionalisation as an aspect of interior design has reduced it to the status of atmosphere. While on the other hand, certain avant-garde music and the World Soundscape Project have elevated acoustic atmospheres to the status of musical essences. In this way, the voices of things and the concert of the world have experienced growing attention, and listening has gained strong currency as a valued life component.