While scholars have drawn attention to the production of space through sound, there has been less attention given to the interchange between multiple co-existing environments. This paper examines how the sounding of one place informs and produces the sounding of another by focusing on Western art music as it is multiply negotiated by urban residents in Taipei, Taiwan. Building upon Stefan Helmreich’s provocation on the transductive quality underlying immersive soundscapes, this paper looks at how various instantiations of piano playing in apartment buildings, on municipal garbage trucks and on the Taipei Mass Rail Transit System produce expectations for sonic space in a relational, rather than isolated, context. By analysing a grassroots campaign to regulate household piano practice, this paper shows how cultural expectations for the sounding of one place is spatially and ontologically produced in relation to adjacent auditory environments throughout the city. Contributing to discussions for a sounded anthropology, this paper addresses how residents navigate diverse auditory environments and calls for ethnographic attention to the movement between, not only within, sounded spaces.