Listener Quotes - page 8
I think the difference between a lie and a story is that a story utilizes the trappings and appearance of truth for the interest of the listener as well as of the teller. A story has in it neither gain nor loss. But a lie is a device for profit or escape. I suppose if that definition is strictly held to, then a writer of stories is a liar - if he is financially fortunate.
John Steinbeck
[My audiences] discover they are producing a tonal dimension of the music which interacts melodically, rhythmically, and spatially with the tones in the room. Tones ‘dance' in the immediate space of their body, around them like a sonic wrap, cascade inside ears, and out to space in front of their eyes ... Do not be alarmed! Your ears are not behaving strange or being damaged! ... these virtual tones are a natural and very real physical aspect of auditory perception, similar to the fusing of two images resulting in a third three dimensional image in binocular perception... I want to release this music which is produced by the listener...
Maryanne Amacher
A moment later, the same speaker is telling another listener of all the good things that monarchy is a 'force' for. These good things invariably turn out to be connected to power. They are things like 'stability', 'unity', 'national cohesion', 'continuity' and other things for which powerless people would find it difficult to be a force. Edmund Wilson would have had little trouble noticing, furthermore, that all the above good things are keywords for conservative and establishment values.
Christopher Hitchens
Well, I think it is accidental. It's just something I started doing naturally and it had a lot to do with reading. I think that Dylan Thomas, his prose and poetry, was a big influence on me. Just his use of words... He would use so many odd words: like these three- and four-syllable words that you just don't normally hear. And they're not used in a manner that sets the text apart from the reader. Rather they're drawing the reader in. It's entirely based on the alliteration of the word itself-onomatopoeia and things like that. I feel like a lot of the words I use don't stick out in the song because they keep the feel of the song in mind. The rhythm-that's the primary thing. They're put in there for rhythm and alliteration as much as they are for meaning. And as long as they are not used extraneously, they're real lightning rods for people listening to the lyrics. If the words are really helping out the rhythm of the song then all they're going to do is draw the listener in even more.
Colin Meloy
Individual psychotherapy - that is, engaging a distressed fellow human in a disciplined conversation and human relationship - requires that the therapist have the proper temperament and philosophy of life for such work. By that I mean that the therapist must be patient, modest, and a perceptive listener, rather than a talker and advice-giver.
Thomas Szasz
The Volta is taken from a Federico Fellini book about his films, what he characterizes as a changing of scene, or a turnaround; a new scene to him is called Volta. Y'know, changing of time and the changeover. And Mars, we're just fascinated by science fiction so and it's something that ultimately looked as in anything I write, its meaning is always up to the listener. As the way we write songs and words, if it looks great on paper then to us it's like painting, so if it looks good meaning the second then people usually have a better interpretation than we ever would.
Cedric Bixler-Zavala
Overall, I think the main thing a musician would like to do is give to the listener the many wonderful things he knows of and senses in the universe... That's what I would like to do. I think that's one of the greatest things you can do in life, and we all try to do that in some way. The musician's is through his music.
John Coltrane
The subtlety of Brazilian rhythms comes from the type of instruments used. Afro-Cuban music has a scraper called the güiro which is played with a solid stick producing a loud scraping noise. This same instrument is paralleled in Braziliam music with the reco-reco, the difference being that the reco-reco is much smaller, less resonant, and played with something like a brush. The cabasa is a gourd wrapped in beads that is incapable of extremely loud noise. The same is true of the chocalho or cylinder, and the tambourine. A regular set of drums contrasts this. The result is a light rhythm that, unlike the conga, bongos and timbales of Afro-Cuban music, does not engulf the listener but permeates him. To this is usually added the guitar (unamplified) played finger-style, which completes the subtlety.
Clare Fischer
Titan! to whom immortal eyes
The sufferings of mortality
Seen in their sad reality,
Were not as things that gods despise;
What was thy pity's recompense?
A silent suffering, and intense;
The rock, the vulture, and the chain,
All that the proud can feel of pain,
The agony they do not show,
The suffocating sense of woe,
Which speaks but in its loneliness,
And then is jealous lest the sky
Should have a listener, nor will sigh
Until its voice is echoless.
Lord Byron
The basic purpose of music is to be therapeutic, to raise the life energy of the listener. This simple yet profound truth seems to have been forgotten in this era which acclaims technical virtuosity and sophisticated musicology. The function of music since its beginning has been the spiritual uplifting of the listener so that his life energy is enhanced by the experience.
John Diamond (doctor)
There is an instinct that leads a listener to be very sparing of credence when a fact is communicated; it doesn't ring well in his ears-it has too much or too little gloss; he receives it with a shrug, and passes it on with a huge notch in it to show how justly it is entitled to suspicion; he is not to be imposed upon by a piece of truth. But give him a fable fresh from the mint of the Mendacity Society-an on dit of the first water-and he will not only make affidavit of its truth, but will call any man out who ventures to dispute its authenticity.
Samuel Laman Blanchard
A picture or representation of human figures, ought to be done in such a way as that the spectator may easily recognise, by means of their attitudes, the purpose in their minds. Thus, if you have to represent a man of noble character in the act of speaking, let his gestures be such as naturally accompany good words; and, in the same way, if you wish to depict a man of a brutal nature, give him fierce movements; as with his arms flung out towards the listener, and his head and breast thrust forward beyond his feet, as if following the speaker's hands. Thus it is with a deaf and dumb person who, when he sees two men in conversation - although he is deprived of hearing - can nevertheless understand, from the attitudes and gestures of the speakers, the nature of their discussion.
Leonardo da Vinci
