This article is dedicated to the Udmurt’s understanding of the world of sounds, their norms of behaviour towards sound in the acoustic community. The Udmurt sound worldview has been formed under the influence of the surrounding landscape. The peculiar sound of the Forest, that the Udmurt see and hear in their particular way, causes a particular sound reaction and musical approach. According to tradition, the voice of a singing person must fit into the natural soundscape in order to respect acoustic balance. Within the hunting and fishing cults, singing has received the particular function of a magic incantation. The texts of incantatory songs in hunting and in honey producing, are characterised by incantation formulas as well as by different kinds of sound imitations. The collective community ritual singing is one of the most important elements that organise the Udmurt’s soundscape. The acoustic code is integrated in a whole system of ritual practices; it sanctifies the surrounding cultural and natural landscape. The spring-summer half of the year is characterised by a particularly strong intensity of sounds, as in the most significant calendar holiday, the beginning of the agricultural year, Akashka / Byddzh’ym nunal. The rituals of welcoming have their own aesthetics of sound behaviour. According to the Udmurt community’s mentality, the voice of the singing person is not supposed to stand out of the general sound field. Everywhere, the skilful singer occupies a peculiar position on the Udmurt society: they are valued and respected. At the same time, the belief according to which those who are able to sing well are deeply unhappy in life is very widespread. Taking into account that human voice and singing, in the representations of the Udmurt, possessed a huge force and influence on the surrounding world, we may infer that the singer (the skilful singer!) in the ancient society, who mastered this complicated art, had particular authority. It is even possible that at some moments, he/she fulfilled the function of a mediator between the worlds. And similarly to the shaman, the good singer, usto kyrdzh’as’ could not refuse to practice his/her art, this art given him/her by fate. Thus, the Udmurt’s sound worldview is encompassed into an ontological worldview, which sets the rules of behaviour. It requires a proper sound behaviour inside the natural space as well as in the socio-cultural one, and determines the Udmurt’s behaviour not only in their natural environment but also in the urban space.