Abstract
In a notion of inclusive musical structure, it is not clear that any particular kind of listening experience can usefully be picked out as the hearing of structure. Anything that one hears might be the result of structure in the inclusive sense. This chapter presents several musical analyses where the structural fact was learned through means other than hearing. The gathered facts were then used to find out what it might mean to hear them. In all these analyses it was finally found that the musical structure was neither conventionally structural in character nor necessarily similar in character or in density of information to the structural descriptions with which they are associated. The C-sharp minor Prelude in Book I of Bach's Well-Tempered Clavier is also discussed where the perception is of an unrealized modulation to E major suggested by the beginning of a thematic statement in that key early in the piece.
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