 Though one must have recourse to technical terms, such as “melody”, “dominant seventh”, “sonata form”, and so on, in order to describe specific musical experiences and the musical experience in general, it is widely agreed that one need not possess these concepts explicitly, nor the correlative vocabulary, in order to listen with understanding (Budd 1985b; 245–8; S. Davies 1994: 346–9; Levinson 1990d: 35–41; see DeBellis 1995 and Huovinen 2008 for dissenting views). However, it is also widely acknowledged that such explicit theoretical knowledge can aid deeper musical understanding and is requisite for the description and understanding of one’s own musical experience and that of others (Kivy 1990).