In this chapter, the author interrogates the musical-theoretical consequences of acousmatic music, that which denies a visual source for its constituent sounds. He introduces an ecological view of perception through which he demonstrates how a consideration of the relationship between action, perception and meaning can provide a more perceptually relevant analysis of electroacoustic music. He analyses works by György Ligeti (Artikulation, 1988), Pierre Henry (Variations pour une porte et une soupir, 1987) and Fred Frith (Guitar Solos: Alienated Industrial Seagulls, 1993) to show how a more subtle and perceptually motivated view of the acousmatic has more important aesthetic consequences.