**4. Conclusions**

Music is established as a nonplace [5] sound where the other cannot only express himself, but fundamentally, be heard. The musical code opens the guideline to look for new ways to get closer to know the other, that is, from noncategorizable forms that deny the specification of the alternate. Music is presented as a code with various shortcomings and shortcomings to conceptual language, but it is precisely within its conceptual and absolute insufficiencies that we can understand the infinite qualities of the other; the musical themes have that quality to which Derrida calls difference ([6], pp. 133), because, in each of his notes, there will always be the possibility of exceeding his own representation and therefore has the ability to know to the other from all its infinity. In this way, the sound phenomenon ends up opening new patterns of encounter and reflection with the other, but always with the recognition that there is no single way or way to access the other because of its paradoxical and complex idiosyncrasy.
