The article deals with some contemporary ways of understanding and consuming the space of music. Various cognitive handicaps and distortions originated from an interference of neurobiological and aesthetic components, which can be found in the process of study of music thinking and music percep- tion, have been analyzed. The main attention is paid to the anthropological and cultural dimension of the mu- sic discourse. The concept of timbre is treated as a link between the subjective and objective components of the music production and music perception. The neces- sity of both development and verification of theories of music perception has been substantiated. The author argues that such theories can be elaborated by inter- disciplinary collaborations which include professional musicians with a rich stage experience.