Extending theatrimusicality into choreomusicality, the chapter theorises embodied musicality and sonic-kinetic interrelation across M.O.V.E. Theatre’s 《凯吉一岁》/ Dear John and Siong Leng Musical Association’s 《万物静默:如是我闻》/ The Silence of All Things: Thus Have I Heard. Broadly conceived as the dynamic interlocution where choreography and music / sound co-produce form and meaning, choreomusicality is specifically articulated as the intermaterial vibration and resonance in Dear John. Performed as an interactive sound lab and live performance, Dear John is a performative and philosophical response to John Cage’s experimental musicking. The work investigates sonification as an embodied activity produced through what Nina Eidsheim describes as transferable vibrational energy. Such choreomusical dramaturgies where music / sound are performed as vibrational (ex)changes encourage a spectaurality rooted in interconnection and relationality—between bodies and / or sound. In The Silence of All Things: Thus Have I Heard, choreomusicality is used to underscore a dramaturgy of non-duality, the fundamental Buddhist principle that is used as a structuring strategy and a philosophical provocation in the performance. An inquiry into the ontology of traditional Nanyin music and its place in Singapore, director Liu Xiaoyi places in juxtaposition music and silence, movement and stillness, tradition and innovation to situate audiences in spaces of the in-between that further illustrate a ‘middle path’ of relational co-presence. Interplaying contemporary sound tracks with traditional Nanyin music while reconceiving the proxemic relations of a Nanyin ensemble through the introduction of movement scores, interjected by the dance performances of Didik nini Thowok, a renowned Indonesian dancer and choreographer, Liu challenges audiences to spectauralise the intersections between the past and present and to recognise that tradition and innovation are not antithetical but relational.