There are no actual locations in music, nor actual distances or motion between musical locations, and yet much of music discourse is premised on the belief that there are. Although it has been recognized that such metaphoric concepts are treated as if they were literal, it has not been explained why we should have such concepts in the first place. What is it about musical experience that motivates conceptualizations of locations, distances, and motion? Metaphor theory in music has not yet gone beyond the important step of identifying that there are cross-domain mappings, and arguing that this mapping somehow draws on embodied experience via image schemas. In conjunction with this, we do not yet have an account of the logic of describing the relations of musical tones in terms of spatial relations. As a result, theories and epistemologies that are premised on the metaphor of musical "space" are also premised largely on shared intuitions, and the ultimately indefinite grounding of any and all spatially-related claims brings their value into question at a very basic level. This paper offers an account and a grounding of the metaphoric logic of musical space by examining the motivations for, and constraints on, cross-domain mappings; the question of what makes them largely unidirectional; the role of phenomenology in the emergence of image schemas; and the question of just how it is that embodied experience shapes metaphoric thought and musical meaning.