The phrase "aural image" is correct and usable in written English.
It can be used in contexts related to sound, music, or auditory perception, often in discussions about how sound creates mental pictures or associations.
Example: "The composer aimed to create an aural image of a serene landscape through the gentle melodies of the piano."
Alternatives: "sonic representation" or "auditory visualization".
My music starts with an aural image in my head which I'm then trying to realise.
It comes as a kind of update to the stir-fry of visual and aural image.
But perhaps the piece of classical music that provides the most vivid aural image of this revolutionary year is the Italian Luciano Berio's Sinfonia.
Although the cast's mutual encouragement of one another often sounds more pro forma than spontaneous, when the mixed company is stepping together or contributing to the rhythm in pairs, the aural image of unity is persuasive and rousing.
It is hard, and perhaps wrong to try, to separate Van der Aa's music from the whole experience: you come away with an aural image of long brass lines riding across lurching, urgent unison string figures.
In The Times, Clive Barnes characterized her performance as "a series of unforgettable visual and aural images". The following year Ms. Bancroft appeared in the Lincoln Center Repertory production of another William Gibson drama, "A Cry of Players," set in Shakespearean England.
Stockhausen's music contains some of the great, defining aural images of 20th-century music, on a par with the flute that opens Debussy's L'après-midi d'un Faune or the upward swoop that ends Schoenberg's Erwartung.
But don't stop reading: Those names may conjure up aural images of beeps, bloops and three-octave leaps, but this program, though consisting of both serious and lighthearted musical expressions, became, in the performance, plain fun.
The red army of Portuguese, who occupied almost three-quarters of the 65,000-seat stadium, provided an aural mirror image.
Music by Vivaldi was naturally the aural counterpart to the images; the performances included particularly distinguished playing by John Abberger and Marco Cera in the Concerto in D minor for Two Oboes (RV 535).
The effect was that of a visual and aural cacophony of Shakespearean images, all of which were artifacts of performance but many of which might have seemed incomprehensible or odd, due to the multiplicity of languages and performance styles.
