Another property of events that we would hear would be that of localization in space on the X-Y axis.  The localization is vague, and ability varies from person to person, but it is known that the shape of the ear slightly modifies sounds when they are higher or lower on the Y axis, and that most people notice this change.  It is also known that there is a neural mechanism which compares the slight time differences between sounds entering the ears to localize them on the X axis.  Because the event would not normally change depending on where it is in relation to us, this ability to localize an event by sound is more properly considered a relation between us an the event.
A special situation for analysis involves the difference between hearing music on a recording and hearing music live under the new conception.  As with many of the previous solutions, the ones regarding music find parallels in vision.
The problem of how to talk about listening to music on a CD player does not by itself present any special problem.  The object of your hearing, in this case, would merely be the speaker as it vibrates.  The problem comes up when discussing the differences between a recorded performance and a live performance.  In the case of a live performance, the "object" heard is actually several different objects (instruments).  In the case of a recorded performance, it is only one object (the speaker).  Although by the old conception we can say that the recorded performance and the live performance are the same music, this kind of talk has to be avoided in the new conception, because the word "music" denotes a type of sound.  The task for the new conception is to explain how these two events are the same.
One possibility is to say that the similarity between a speaker vibrating and various instruments on a stage vibrating is analogous to the similarity between an object and a photograph of the object.  Since we seem to have no trouble talking about photographs, we should have no trouble talking about music.  One important difference, however, is that live and recorded music (as perceived) resemble eachother much more then a photograph and an object, but are as different as possible.  The most profound and seemingly irresolvable difference between recorded music and live music would have to be that recorded music comes from the vibration of one source (or two in stereo) while live music can come from many, perhaps hundreds of sources.
The only possible solution to this problem while remaining true to the new conception is to say that recorded music and live music are in fact profoundly different, and that it is only a mistake of perception that they seem the same to us.  One fact in support of this interpretation is that the further you get from a live music source, the more similar to recorded music it sounds.  Someone in a live orchestra playing would be much more able to tell if the music was a recording then someone a block down the street hearing it from a distance.  A proponent of the new conception of hearing would say that this is because from a distance, he simply cannot distinguish the sounds well enough from eachother to tell that they are from different sources.  What he hears is still several different objects, just as someone looking at a pointillist painting sees several differently sized and shaped dots which blend into a whole with distance.  
