This paper aims to describe some problems and issues that have emerged from the practice of archaeomusicology in South America, especially in the Andean region. Some methodological approaches emerge from the specific problems of organological studies of pre-Hispanic objects, related to the evidence about sound use and the interpretation of sound by local cultures. This article presents four features of Andean music that illustrate some of the main methodological approaches that must be utilized when studying pre-Hispanic music in the Andes; the tone quality, the organological expansion from a singular object to multiple objects; the physical movement of musician and hearer as part of the sound properties, and musical performance as part of a social exchange between musicians and listeners. Each of these features offers a new perspective on archaeo-musicological studies, as well as on the contributions of the field to a greater understanding of new discussions in present society. The focus of this article will be to understand the ‘sound object’ as an acoustic object, as one or more objects, as related to the surrounding ambient, as a moving object, and as a modifier of the player’s or listener’s experience.