Illustrations: With an Audio Cd Description: The writings on Indian music have been mostly on theoretical aspects and mainly by theoreticians and not by practising musicians. It is still rare to find a woman performer who has written on music performance from different angles. In Enlightening the Listener, Prabha Atre, a noted vocalist examines with a liberal and holistic approach various aspects of a contemporary North Indian classical vocal music performance for a lay listener. While doing this she critically and objectively tries to seek in the context of changing times new meaning appropriate to what has come down from tradition. Her academic background, analytical mind, logical approach and communication skills put this book in a special category. This book deals with various aspects of music performance as also persons and institutions involved in 'Music making'. Dr. Atre's diverse experience as a singer, composer, teacher and thinker has lent authenticity to this work. From a point of view of a lay listener, she unfolds artistically the creative process of music making and thus gently guides the reader towards better appreciation. The accompanying cassette with illustrations is an added feature of this book. Listening to it will help the reader to identify the musical material and forms and gives an idea of the techniques involved.

The silent attentiveness expected of concert audiences is one of the most distinctive characteristics of modern Western musical culture. This is the first book to examine the concept of attention in the history of musical thought and its foundations in the writings of German musical commentators of the late eighteenth century. Those critics explained numerous technical features of the music of their time as devices for arousing, sustaining or otherwise influencing the attention of a listener, citing in illustration works by Gluck, C. P. E. Bach, Georg Benda and others. Two types of attention were identified: the uninterrupted experience of a single emotional state conveyed by a piece of music as a whole, and the fleeting sense of 'wonder' or 'astonishment' induced by a local event in a piece. The relative validity of these two modes was a topic of heated debate in the German Enlightenment, encompassing issues of musical communication, compositional integrity and listener competence. Matthew Riley examines the significant writers on the topic (Descartes, Leibniz, Wolff, Baumgarten, Rousseau, Meier, Sulzer and Forkel) and provides analytical case studies to illustrate how these perceived modes of attention shaped interpretations of music of the period.

Public radio stands as a valued national institution, one whose fans and listeners actively support it with their time and their money. In this new history of this important aspect of American culture, author Jack W. Mitchell looks at the dreams that inspired those who created it, the all-too- human realities that grew out of those dreams, and the criticism they incurred from both sides of the political spectrum. As National Public Radio's very first employee, and the first producer of its legendary All Things Considered, Mitchell tells the story of public radio from the point of view of an insider, a participant, and a thoughtful observer. He traces its origins in the progressive movement of the 20th century, and analyzes the people, institutions, ideas, political forces, and economic realities that helped it evolve into what we know as public radio today. NPR and its local affiliates have earned their reputation for thoughtful commentary and excellent journalism, and their work is especially notable in light of the unique struggles they have faced over the decades. This comprehensive overview of their mission will fascinate listeners whose enjoyment and support of public radio has made it possible, and made it great.

The Indian Listener (fortnightly programme journal of AIR in English) published by The Indian State Broadcasting Service,Bombay ,started on 22 December, 1935 and was the successor to the Indian Radio Times in english, which was published beginning in July 16 of 1927. From 22 August ,1937 onwards, it was published by All India Radio,New Delhi.From July 3 ,1949,it was turned into a weekly journal. Later,The Indian listener became "Akashvani" in January 5, 1958. It was made a fortnightly again on July 1,1983. It used to serve the listener as a bradshaw of broadcasting ,and give listener the useful information in an interesting manner about programmes,who writes them,take part in them and produce them along with photographs of performing artists. It also contains the information of major changes in the policy and service of the organisation. NAME OF THE JOURNAL: The Indian Listener LANGUAGE OF THE JOURNAL: English DATE,MONTH & YEAR OF PUBLICATION: 01-07-1951 PERIODICITY OF THE JOURNAL: Weekly NUMBER OF PAGES: 49 VOLUME NUMBER: Vol. XVI. No. 27 BROADCAST PROGRAMME SCHEDULE PUBLISHED(PAGE NOS):16-50 ARTICLE: 1. Universal Elements 2. Letter-Writing 3. Shortwave Transmissions:Listening Conditions In July 4. India's Population Problem 5. River Valley Projects in India 6. The Bore AUTHOR: 1. Dr. Charles Fabri 2. Debidas Chatterjee 3. R.B.L. Srivastava 4. Dr. S. Chandrasekhar 5. Sardar Man Singh 6. Binod U. Rao KEYWORDS: 1. feminine ideal, Botticelli, archaic statues 2. nostalgic yearning, D H Lawrence, epistolary art 3. ionospheric layers, shortwave stations, transmission 4. Harold Cox, registering births, vital statistics 5. Assam, monsoon, Bhakra-Nangal Project 6. bores, personalities Document ID: INL-1951 (J-D) Vol-II (01)

When was the last time you listened to someone, or someone really listened to you? "If you’re like most people, you don’t listen as often or as well as you’d like. There’s no one better qualified than a talented journalist to introduce you to the right mindset and skillset—and this book does it with science and humor." -Adam Grant, #1 New York Times bestselling author of Originals and Give and Take **Hand picked by Malcolm Gladwell, Adam Grant, Susan Cain, and Daniel Pink for Next Big Ideas Club** "An essential book for our times." -Lori Gottlieb, New York Times bestselling author of Maybe You Should Talk to Someone At work, we’re taught to lead the conversation. On social media, we shape our personal narratives. At parties, we talk over one another. So do our politicians. We’re not listening. And no one is listening to us. Despite living in a world where technology allows constant digital communication and opportunities to connect, it seems no one is really listening or even knows how. And it’s making us lonelier, more isolated, and less tolerant than ever before. A listener by trade, New York Times contributor Kate Murphy wanted to know how we got here. In this always illuminating and often humorous deep dive, Murphy explains why we’re not listening, what it’s doing to us, and how we can reverse the trend. She makes accessible the psychology, neuroscience, and sociology of listening while also introducing us to some of the best listeners out there (including a CIA agent, focus group moderator, bartender, radio producer, and top furniture salesman). Equal parts cultural observation, scientific exploration, and rousing call to action that's full of practical advice, You're Not Listening is to listening what Susan Cain's Quiet was to introversion. It’s time to stop talking and start listening.

Classical music permeates contemporary life. Encountered in waiting rooms, movies, and hotel lobbies as much as in the concert hall, perennial orchestral favorites mingle with commercial jingles, video-game soundtracks, and the booming bass from a passing car to form the musical soundscape of our daily lives. In this provocative and ground-breaking study, Melanie Lowe explores why the public instrumental music of late-eighteenth-century Europe has remained accessible, entertaining, and distinctly pleasurable to a wide variety of listeners for over 200 years. By placing listeners at the center of interpretive activity, Pleasure and Meaning in the Classical Symphony offers an alternative to more traditional composer- and score-oriented approaches to meaning in the symphonies of Haydn and Mozart. Drawing from the aesthetics of the Enlightenment, the politics of entertainment, and postmodern notions of pleasure, Lowe posits that the listener's pleasure stems from control over musical meaning. She then explores the widely varying meanings eighteenth-century listeners of different social classes may have constructed during their first and likely only hearing of a work. The methodologies she employs are as varied as her sources -- from musical analysis to the imaginings of three hypothetical listeners. Lowe also explores similarities between the position of the classical symphony in its own time and its position in contemporary American consumer culture. By considering the meanings the mainstream and largely middle-class American public may construct alongside those heard by today's more elite listeners, she reveals the great polysemic potential of this music within our current cultural marketplace. She suggests that we embrace "crosstalk" between performances of this music and its myriad uses in film, television, and other mediated contexts to recover the pleasure of listening to this repertory. In so doing, we surprisingly regain something of the classical symphony's historical ways of meaning.