Eighteen musicians and 18 non-musicians were asked to indicate perceived segmentations in a performance of Berio's Sequenza VI. Segmentations were marked during active listening by depressing a key oil a compLitCie console. The segmentations of both musicians and non-musicians were i general agreement with a reference analysis pi-ovided bv two compposers. These segmentations had a high degree of stability over two 1istenings. J'he results are discussed in terms of a theory of cue extraction allowing identification of the beginning and end of major compositioned units
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