This paper theorises aural fluency as an expanded framework for musicianship and listening pedagogy that accounts for plural-modal, intercultural, and participatory ways of hearing. Conventional tertiary aural training remains largely defined by 12-tone equal temperament, fixed metre, and Western harmonic syntax, parameters that inadequately reflect the multimodal listening practices central to music in East-Asian and Asia-Pacific contexts. Building on decolonial and praxial philosophies of music education, the paper proposes aural fluency as the flexible capacity to imagine, recognise, reproduce, and musically act upon sound across multiple tuning systems, modal logics, and temporal organisations. Rather than aural skills as recall or transcription, the framework emphasises responsiveness, relationality, and embodied hearing as foundations for creative musicianship. Drawing conceptually on East-Asian-adjacent frameworks such as gagaku’s tetrachordal modalities, tāla-based cyclic time, and heterophonic ensemble textures, the discussion identifies transferable pedagogical implications without claiming empirical implementation. These traditions are approached as epistemic resources for rethinking how students might internalise sound relationally, through attentiveness to timbre, intervallic colour, and collective entrainment, rather than through abstract harmonic correctness. The study positions aural fluency as a mode of intercultural listening that bridges ethnomusicological insight and higher-education practice design. It advocates a shift from evaluative accuracy to dialogic participation, foregrounding listening as social action and as an ethical form of attunement to musical and human difference.