ABSTRACT
Eight central ‘aural training’ parameters, namely aural perception, musical memory, musical imagery, music notation and literacy, implicit and explicit forms of musical knowledge, music theory, embodied aspects, and the notion of musicality, were explored through semi-structured interviews with nine non-Western classical musicians who live and work in Greece. Interviewees belonged to the musical domains of Greek traditional (n=3), Byzantine (n=3), and jazz (n=3) music. Some additional relevant topics were also discussed, which were either included in the preliminary interview guide, or emerged through the interviews as the study progressed. Findings emphasise the importance of assimilated aural experience, the centrality both of aural mental imagery and embodied aspects, the auxiliary role of notation, the ideal of a collaboration between implicit and explicit forms of musical knowledge, the element of creativity, the integrated and holistic nature of musical learning, and the value of aural imitation as a tool for learning. The idea of ‘giftedness’ and ‘talent’ seemed to prevail over the notion of equal musical potential in all people, though there was some inconsistency and openly expressed uncertainty concerning this issue.
