This article explores what it means to develop aural-improvisational abilities, what we
call “powers,” in higher music education. Co-written by a philosopher and a jazz
pedagogue/musician, the article illuminates and argues in favor of two methods that we
believe are well-suited for developing young people’s aural-communicative capacities
and elaborates on theoretical perspectives that fit with musical learning. The first
method is developed by Njål Ølnes and is a practice for aural-communicative ensemble
learning. We provide novel qualitative data on how this method works, based on a
postdoctoral research project in the field of artistic and practice-based research, with the
ensemble serving as both the primary context and object of inquiry. The second method
is the aural imitation method, used and praised by multiple professional jazz musicians
worldwide. We develop a theoretical framework informed by philosophical
hermeneutics (Hans-Georg Gadamer and a Gadamerian reading of Kant), developmental
psychology, and enactivism. Along the way, we critique two approaches within
contemporary music education: the building block approach and the stepping-stone
approach.