During the last half century, a sound-based music, as opposed to an interval-based one, has been emerging. The lack of consensus around what is pertinent for the formation of a syntax within sound-based music, has made this music accessible to only a small circle of specialist listeners and practitioners. Our approach to analysis (‘Aural Sonology’) came about very much as a response to the challenge of the lack of syntactical musical conventions. If syntax be defined as a way to prolong the listener’s experience of a moment within a musical discourse and as the means of ordering what he hears, then a possible way to meet this challenge is to seek out models of aural organisation that in some evident way discloses a sound-pattern, i.e. a Gestalt. Our methodological assumption is that anything that is perceived as ordered can be described as structure.