listen to what we are doing and listen with concentration. It now
becomes clear to us that no one becomes an intelligent musician who is
not skilled in tone sense, in listening, and having thoughts about
what is heard.

We may read again from the excellent rules of Robert Schumann:

"Frequently sing in choruses, especially the middle parts; this will
help to make you musical."

Out of this we learn to try to hear more than the melody, to try
sometimes not to think of the melody, but to listen only to that which
accompanies it. When, in school, you sing in two and three parts,
notice how one is inclined always to sing the soprano. The melody
pulls us away from another part if we are not concentrated upon our
part. Yet notice how beautifully musical the lower parts are. Listen
intently to them whatever part you sing.

It seems in music that we learn to listen in two directions. First, by
training the attention merely to follow prominent sounds and to be
conscious of all of them; then, later, we do not need to think so much
of the prominent melody but we strive to hear the accompanying parts.
These are the melodies which are somewhat concealed by the principal
one; not truly concealed either, for they are plain enough if we will
listen. They make one think of flowers hidden in the grass and
foliage. They are none the less beautiful though they are concealed;
for the sunlight seeks them out and makes them blossom.

We find hidden melodies in all good music because it is the character
of good music to have interesting and beautiful melodic thought