In this article, the author, drawing on aspects of Denis Smalley's work on subject-object listening relationships, describes the notion of ‘acoustic chains'. He contends that the listener to an acousmatic work perceives sounding objects in relation to previous works, before considering what the sounding object affords within the internal structure of the work. He suggests that being aware of the formation of acoustic chains enables the exploration and interpretation of the semiotic effects of sound material beyond the intentions of the composer and goes some way towards the formulation of an esthesic perceptual framework.