This dissertation is a cognitive ethnomusicological investigation regarding how each individual creates his or her own world via different musical behaviors. The goal of this thesis is to contribute to a model of our sense of time and space from an interdisciplinary perspective. There is a long tradition that we use two cognitive constructs, `time’ and `space’, when talking about the world. In order to understand how we humans construct our own worlds cognitively via music-making, I first distinguished two behaviors in music performance (singing vs. instrument playing). I looked at how the different modes of music-making shape our body in a distinctive way and modifies our perception of time and space. For the cognitive sections (chapters 2 & 3), I discussed not only building blocks of temporal experience but also features of space pertaining to the body. In order to build a comparative perspective (chapter 4), I examined various ancient understandings of time and space in different cultures. In terms of music evolution (chapter 5), I looked at the transformative power of music-making and speculated about potentially different modulatory processes between singing and instrument playing. The discussion in the cognitive sections provided the basic ideas for my `Hear Your Touch’ project consisting of two behavioral experiments (chapter 6). I focused not only on two elements of temporal experience: 1) event detection, and 2) perception of temporal order, but also on several elements of spatial experience: 1) body space, 2) audio-tactile integration, and 3) space pertaining to hands. Both simple reaction time and temporal order judgment experiments provide supporting evidence for differences in spatiotemporal processing between musicians and non-musicians as well as between vocalists and instrumentalists. The simple reaction time experiment suggests that instrumental musical training contributes to enhanced multisensory integration through co-activation. The temporal order judgment experiment indicates not only that musical training changes response to audio-tactile stimuli but also that instrumental training modifies the perception of temporal order. Compared to non-musicians and vocalists, instrumentalists showed significantly lower absolute and difference thresholds. These demonstrate different effects of specific musical training on our perceptions of time and space. My experimental findings support that, although they are often considered as distinctive cognitive constructs (chapter 4), time and space are established together through our bodily experiences. In connection with music evolution (chapter 5), it is highly likely that the use of both vocal and non-vocal sounds in a communication system might have had significant influence on the development of human cognition by transforming our bodies, our perception of, and our action toward the world. This work suggests that there are many musics that allow us to have different worlds. Advisors/Committee Members: Udo, Will (Advisor).