Sound touches us, physically. It connects us with the body from which it is coming. It is an intimate form of human contact. This may well be one reason that music is so powerful: it engages us physically with the bodies of the musicians who are making it. This may have important implications for the study of sexuality and music, as well as other forms of bonding that occur while playing or listening to music: I am in your rhythm and therefore in your body–we are one, perhaps first through sharing an ‘extradaily’ time and second through the particular rhythmic, melodic, harmonic, and timbral gestures, which impact our bodies in a particular way. One can see a highly visible manifestation of the former (the creation and sharing of extradaily time) at rock concerts, when thousands of people articulate the meter through clapping, sometimes at the request of the performer. Further, all sound may envelop us to some degree, but music, with various elements that are, as Shepherd and Wicke suggest, coming and going, several instruments, parts, and so forth, that are all around us, accomplishes this in a deliberate and calculated way. Musical sounds are special because they are out of the ordinary: they represent an organizing of sound different from the everyday. And if they are louder than everyday sounds for a sustained period of time, they command our attention completely and may completely envelop us physically. This may be why volume is such a critical element of rock music and why it is so powerful. Extreme volume is not only transgressive, but it is also a way of creating a cocoon of sound. Other sounds are blocked out–the rest of the world is blocked out.
Susan Fast, In the Houses of the Holy: Led Zeppelin and the Power of Rock Music