There are many benefits to this process of listening. The first is that good listeners are created as people feel listened to. Listening is a reciprocal process - we become more attentive to others if they have attended to us.
My father used to tell me that stories offer the listener a chance to escape but, more importantly, he said, they provide people with a chance to maximize their minds. Suspend ordinary constraints, allow the imagination to be freed, and we are charged with the capability of heighetned thought. Learn to use your eyes as if they are your ears, he said, and you become connected with the ancient heritage of man, a dream world for the waking mind.
So if you aspire to be a good conversationali st, be an attentive listener. To be interesting, be interested. Ask questions that other persons will enjoy answering. Encourage them to talk about themselves and their accomplishments
If a listener nods his head when you're explaining your program, wake him up.
The songs we sing invite the participation of the listener, who is central to finding a way of creating the life of the song at that listening. It's the difference between poetry and didactic writing. One tells you, 'This is it,' and the other says, 'Let's find this together.'
But really important, perhaps most important is the craft; how you make your record, the creation of these sonic worlds you want your listener to hear.
George Jones will always be one of the most amazing singers who ever lived. He was a true Country Music legend who made music very personal to the listener – I think more than anyone else. He will be dearly missed, but always remembered.
I put myself in the place of the listener when editing my writing. The last thing that I want to do is be preached at and told who to be or what to think when listening to an artist. However, I do want to be inspired. There's a fine line.
Listening is as important as talking. If you're a good listener, people often compliment you for being a good conversationalist.
Personal finances are like people’s personal health, crucial and tragic to the sufferer but tedious to the listener.
My goal is to connect with people emotionally. I take life’s experiences and translate them into music — music that hopefully creates an impact on the listener.
As I understand life at different levels, I can use music to express what these levels feel like to me. Hopefully the listener can be transported to this understanding by listening to the music.
The newspaper fits the reader's program while the listener must fit the broadcaster's program.
A story can take you through a whole process of searching, seeking, confronting, through conflicts, and then to a resolution. As the storyteller and the listener, we go through a story together.
Traditional matter must be glorified, since it would be easier to listen to the re-creation of familiar stories than to quite new and unexpected things; the listeners, we must remember, needed poetry chiefly as the re-creation of tired hours.
There' something about universal truths with the simplicity of the acoustic guitar. You can take it anywhere and it helps me reach listeners of all ages and walks of life.
RHETORIC The art of making life less believable; the calculated use of language, not to alarm but to do full harm to our busy minds and properly dispose our listeners to a pain they have never dreamed of. The context of what can be known establishes that love and indifference are forms of language, but the wise addition of punctuation allows us to believe that there are other harms - the dash gives the reader the clear signal they are coming.
Because the casual music listeners are the ones who turn on the radio and they don't really care what's playing, they just know that they kinda like it or it's easy to drive to or it's easy to sing along to or whatever.
I'm not a good listener some times. I'm too much of a control freak. I'm learning to be better. I was so caught up in just getting the job done that I would miss out on the human aspect of this. There was a connection missing.
There are many more languages than we think: and man betrays himself more often than he desires. How things speak! - but there are very few listeners, so that man can only, as it were, chatter on in the void when he pours out his confessions: he squanders his ‘truths’, as the sun does its light. - Isn’t it rather a pity that the void has no ears?
I've found in composing that being simple and profound—having in-depthness in your music—is the most difficult thing to do. Anybody can write a whole lot of notes, which may or may not say something . . . But why make it complicated for the musicians to play? Why make it difficult for the listeners to hear?
The listener must be gripped and whether he likes it or not, drawn into the flight path of the sounds without special training being necessary. The sensual shock must be just as forceful as when one hears a clap of thunder or looks into a bottomless abyss
I do not write experimental music. My experimenting is done before I make the music. Afterwards it is the listener who must experiment.
The artist must forget the audience, forget the critics, forget the technique, forget everything but love for the music. Then, the music speaks through the performance, and the performer and the listener will walk together with the soul of the composer, and with God.
I speak and speak, [...] but the listener retains only the words he is expecting. [...] It is not the voice that commands the story: it is the ear.
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