Space is not traditionally a compositional parameter. The distribution of musical sound in space is most often a creative concern for the mixing engineer; recorded or performed sound may be placed or diffused according to various aesthetic conventions with varying degrees of specificity, depending upon the spacial distribution model (stereo, 5.1, ambisonics etc.) and quality of the sound placement controllers.
When the composer is offered a compositional environment that encourages or facilitates distributed sound (artificially conceived or real) then ‘space’ could be considered a structural dimension subject to control by the composer. Musical/sound events placed in this space could conceivably be influenced or affected by:

i. the environment
ii. other sonic events

PRE-COMPOSITIONAL CONSIDERATIONS - Constraints and Opportunities
What should be considered prior to composition? What can be achieved depends upon a number of constraints, physical and conceptual. The following questions are designed to stimulate thought and discussion of both:

i. is the listener predominantly front facing?
ii. is there more than one listener?
iii. is the concept of ‘front’ meaningful (compositionally and spacially)? Can the listeners attention be drawn elsewhere?
iv. are the musical events predetermined in space and time (is the listener expected to interact to control event emphasis or sequence)?
v. are there distinct static sound sources in the design (real or virtual instrument placement)?
vi. are the sound sources mobile in the space?
vii. is there a relationship between pitch/loudness and location?
viii. is height/depth a factor for consideration?
ix. is there a narrative structure (visual or otherwise) creating a sense of progressive drama or a more perpetual ambience?
x. how precisely can events be placed in space? Could designs in space be traced by sound and are these aurally perceptible?
xi. is the listener static (can the listener maneuver (really or virtually) in relation to the sound)?
xii. will the sound evolve over time (audio morphing) in relation to the space?
xiii. can existing musical devices be usefully displaced or fragmented in space as well as in parts (such as the hocket, antiphony, canon, ostinato etc.)?
xiv. how precisely can motional transitions be perceived (near/far looming/doppler shifts, front, rear, side detection etc.)
xv. are there perceived boundaries to the environment? are they fixed? are the boundaries defined by reverberation? how is sense of space conveyed to the listener? can events reflect off of the boundaries?
xvi. are we concerned with creating/recreating an environment (artificial, real or hyper-real) or in choreographing multiple events?
xvii. have the sound events been created through synthesis or recorded (location soundfield, binural or mono/stereo collection)?
xviii. what does the surround interface have to offer in terms of event placement, perception and motion?
xix. How can we establish near and far sound events?
xx. Which way is the sound source facing with respect to the listener and/or the environment?