The purpose of this study is to investigate the multicultural meeting in the sound-spatial concepts in the 1950-60s in western music and thereby to analyze the sociocultural location of this music. The first section describes three forms of the sound-spatial concept: the serial music, the aleatoric music in the 1950s, and the post-serial music in the 1960s. The second section deals with the general sociocultural location of music, that is get out special sound-aesthetic matter in the middle of the 20th century. This matter is discussed on one hand side as an aspect of the relationship between space-composition and culture-imperialism, and on the other hand side as an aspect of the intercultural composition. The first composition style of three sound-spatial ideas is based on the serial technique, which is `sound in the real space`. In this sound concept, represented by Karlheinz Stockhausen, sound is controlled technically. The technical equipment is a substantial component, since it allows the composer to combine sound-colors in individual oevres differently each time. The second composition style is based on the aleatoric technique, which is the `sound of silence`. In this sound concept, represented by John Cage, the sound space imitates the life space via the sound of the surrounding nature and the daily noise. The third composition style is the sound-surface-composition of the post serial music, which is called `imageable sound`. This sound concept, represented by Gyorgy Ligeti, deals with the imaginary space. The three sound-spatial ideas have in common a weakening of the awareness of a continuous flowing time, as it is present in traditional western music. With the moving of the musical time towards space dimensions expand the history of western music towards non- western cultures, and this is connected to sociocultural phenomena of multicultural exchange. The spatial composition effected by the serial technique includes elements, which can be discussed under an aspect of cultural imperialism. In the spatial cornposition, the tonal system rooted in western tradition is developed further towards the spatial system. The changed space-time-concept implies, that the furture oriented time is transformed into the space dimensions. Finally, the expansion of western music towards non-western music was the aesthetic solution to the shortage of sound material and the space-time problem in western music. The spatial composition of west European composers often includes elements of traditional music from non-European cultures. While this implies an exploitation of the non-western space, the cultural transformation by non-European composers via intercultural composition is a representation of their original culture. Since the audiences in different cultures have different experiences, the perception process plays a prominent role for the investigation of intercultural compositions. Still, the interpretation as well as the analysis of these compositions has to be based on individual perception. Because intercultural compositions are interpreted and played differently in different cultures, it is important for the investigation of the perception process to take the sociohistorical background into consideration. It turns out, that the modem composers in the 1950s and 1960s preceded a general development of the era. Their advances could be summarized as follows: sound in the real space realized by the electronic technique reflected the advances in modern communication, sound in the silence headed a process towards extreme individualism, and imageable sound anticipated the time of multimedia communication. All three new concepts of composing predicted a change in the way of life, which implies that the way of sound arrangement in the music is connected tightly to the sociocultural communication of man. The tendency of cultural imperialism in the spatial compositions and the intercultural composing bringing out the cultural transfor