Traditional aural training is heavily biased towards the perception and identification of pitch and rhythm. This book argues that much of this area of the subject can best be worked on alone. It demonstrates how every student can make some encouraging progess in these aspects of music.

Timbre is as important to a rock group as to a classical orchestra playing on period instruments; performing by ear and from memory are as essential for handing down the un-notated music of some non-Western traditions as for a concert soloist; everyone who owns a CD can enhance their enjoyment of it by recognising the artistry and technical skills which have created it. So the book encourages self-reliance and the confidence to begin to discover for oneself music of any age, of any culture.

Acknowledgements
Introduction
How to use this book
1. Hearing and listening: what is available
2. The elements of musical expression
3. Aural synthesis
4. Metre and rhythm
5. Pitch
6. Timbre
7. Criticism
8. Structure
9. Imaging
10. Playing by ear
11. Improvisation
12. Playing from memory
Postscript: Towards a deeper awareness..
Appendix 1: Assessment
Appendix 2: Resources