I'm a good listener, you know. My gran used to say that's why you've got two ears and one mouth. I just truly love what I do and treat it with a lot of respect and all these relationships in the music business that people talk about.
Why is it that when men and women congregate, though the men may beat the women in numbers by ten to one, and through they certainly speak the louder, the concrete sound that meets the ears of any outside listener is always a sound of women's voices?
One thing I've always been grateful for is the diversity of my listeners.
Reciter and listener of the Qur'an are alike in prize and reward.
A reason to have computers understand natural language is that it's an extremely effective way of communicating. What I came to realize is that the success of the communication depends on the real intelligence on the part of the listener, and that there are many other ways of communicating with a computer that can be more effective, given that it doesn't have the intelligence.
The subject matter covered in Carmina stays pretty basic: love, lust, the pleasures of drinking and the heightened moods evoked by springtime. These primitive and persistently relevant themes are nicely camouflaged by the Latin and old German texts, so the listener can actually feign ignorance while listening to virtually X-rated lyrics. (Veni Veni Venias! Come, come come now!)The music itself toggles between huge forces and a single voice, juxtaposing majesty and intimacy with ease.
The listeners who buy books after a reading multiply that reading; the author who realizes that he or she may be writing on a blank page but is at least not speaking to a blank wall may be encouraged by the experience, and write more.
Something about the possession of a book - an object that can contain infinite fables, words of wisdom, chronicles of times gone by, humorous anecdotes and divine revelation - endows the reader with the power of creating a story, and the listener with a sense of being present at the moment of creation.
What always attracted me to [Bob] Dylan, and what has sustained me as a Dylan listener, or has always continued to surprise me, is his voice, the way he sings, the way he wraps his voice around certain words, the way he backs off from melodic moments, the way he moves forward to grab something in a song that, were anybody else performing it, they would have no idea it was even there.
The worst of all listeners is the man who does nothing but listen.
The receptive attitude enables one mind to fix itself to another as by spiritual grappling-irons. When you see that every word you utter us taken in, and weighed, and measured by your listener, you cannot free yourself from the influence of his presence. You are compelled to have in your thoughts not only the words you utter, but the man to whom they are spoken. You must not only talk, and talk well, but you must talk to him.
The talker has found a hearer but not a listener; and though he may talk his very best for his own sake, you will find that his mental movements are erratic: they have no fixed centre and no definite object. His talk is like the water of a canal whose banks have given way, which rolls aimlessly hither and thither, without fulfilling any useful function, though it is the same water which was so helpful and serviceable, when it was confined within clearly marked limits by the restraining force of its earthy boundaries.
Of all bad listeners, the worst and most terrible to encounter is the man who is so fond of listening that he wishes to hear, not only your conversation, but that of every other person in the room.
The only people who are afraid of file sharing are the people whose albums are so dull presentation-wise that nobody cares about owning the actual finished product, and the people who have so little connection to their listeners that said listeners have no reason to care whether the artists they like are getting reimbursed for their efforts.
The neuro-biology of playing a musical instrument is completely scientific, but it’s also an absolute miracle, that you’re taking basically a calcium bucket filled with salt-water that’s run by a weak electrical signal, and you’re using it to move your flesh around in order to manipulate an instrument which disturbs air molecules between you and the listener, and then the listener’s ears picks up those disturbed air molecules which generates a weak electrical signal to their calcium bucket full of salt water, and they feel a feeling. That’s miraculous, and that’s where I live.
Humor gives presidents the chance to be seen as warm, relaxed persons. Humor reaches out and puts its arm around the listener and says, 'I am one of you, I understand,' and implicitly it promises, 'I will do something about your problems.'
To write and speak correctly is certainly necessary; but it is not sufficient. A derivation correctly presented in the book or on the blackboard may be inaccessible and uninstructive, if the purpose of the successive steps is incomprehensible, if the reader or listener cannot understand how it was humanly possible to find such an argument....
To impress your offer on the mind of the reader or listener, it is necessary to put it into brief, simple language...No farfetched or obscure statement will stop them. You have got to hit them where they live in the heart or in the head. You have got to catch their eyes or ears with something simple, something direct, something they want.
As a white male in America, I have privilege. As a white male who happens to be an artist with a fan base, I have a platform to spread awareness about that privilege. However, songs about race and privilege are very difficult to A) write and B) dissect as a listener. They're heavy.
I regard singing pretty much like acting. Each song is like playing a different role. I get very involved with my material. I feel a responsibility for the emotion it brings out in the listener.
Every time I stand to communicate, I want to take one simple truth and lodge it in the heart of the listener. I want them to know that one thing and know what to do with it.
The aim of talk should be like the aim of a flying arrow -- to hit the mark; but to this end there must be a mark to hit, that is, there must be a listener.
People aren't very good listeners, by nature. Part of being a good communicator is recognizing and understanding that and trying to make the complex simple. I try to capture a concept, an idea or a moment in a few words. If they remember it, job done.
If sound is music and came from silence, then silence is potentially greater than sound. If the sound is effective, it should actually have a chemical - some sort of physiological - effect on the listener, so he doesn't have to hear that sound again.
The facile delusions which conceal from us our true situation all amount to this: that we are, or can be, wiser than the wisest men of the past. We are thus induced to play the part, not of attentive and docile listeners, but of impresarios and lion-tamers.
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