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This article seeks to describe phenomenologically the experience of listening to music through portable devices, having as a frame of reference especially the research of Michel Chion and the philosophical concepts of Gilles Deleuze. The capacity of these devices to provide for listening in movement makes them potential sources of a cinematographic effect of suspension or fabulation, in which reality itself becomes the panoramic screen of a procedural and assubjective work. The body gains functions of mediation and the mode of aurality of these portable listening devices, completely autonomous, inserts into the visual perception the sonic effluvium, which, annexed to the rhythm of the imagetic movement, elevates it to the position of cinematic movement, that is, of a reality that endures in duration, of a reality that is more-than-itself. [ABSTRACT FROM AUTHOR]