The specificity of music as an art form is determined by two of the most significant parameters: belonging to the class of temporary art forms and the sonic nature of its material. Based on these assumptions, traditional musicology pays special attention to the phenomenon of sound, but considers it not so much as a material substance, but as “a meaning vibrating with a variety of different shades”. At the same time, the first decades of our century were marked by an “ontological turn” in a number of philosophical and socio-humanitarian sciences, which led to the emergence of new research optics in the field of studying musical art. One of the most developed concepts dedicated to understanding the sound aspect of music in the light of ontological issues is described in the study by Christoph Cox “Sonic Flux: Sound, Art, and Metaphysics”. Defining his philosophical position in line with “immanent metaphysics” (that is, the doctrine of “world-wide experiential knowledge”), Cox, following M. DeLanda substantiates the concept of “Sonic Flux”, which means “the natural flow of matter and the riot of forces”. Thus, the author refuses to define sound as a material of art, and interprets music as one of the ways of “capturing” (“grasping, slowing down, organizing into relatively discrete forms, structures and essences”) a human sound flow. The article attempts to comprehend the approach proposed by the American philosopher and art critic to the study of music from the standpoint of “Sonic Flux” in dialogue with existing research traditions and in relation to professional academic art. In this case, the latter refers to the corpus of composer's opuses created in the period mainly from 1600 to 1900 (that is, classical music in the broadest sense of the word), which in Western musicology is now commonly referred to as the period of “general practice”. The author's theses such as the parameters of the characteristic of the Sonic Flux (“intense qualities of pressure, density, velocity, viscosity, elasticity and temperature”); its dependence on the material, shapes and configurations of spaces (which allows us to re-raise the question of the interdependence of architectural structures for demonstrating music and ways of organizing musical text); the generation of sound fluctuations of temperament and tonality systems; expansion of the subject field of musicology to the cartography of the sound stream in the context of its relationship with other sub-streams. The author of the article concludes that this approach is productive, which will allow, in addition to detailing our usual ideas about classical music, to contribute to the creation of an “unlinearized” scientific method of studying art from the standpoint of the dynamics of its existence and understanding it in the systemic field of multi-level processes.