We have known for some time that babies possess a keen perceptual sensitivity for the melodic, rhythmic and dynamic aspects of speech and music: aspects that linguists are inclined to categorize under the term ‘prosody’, but which are in fact the building blocks of music. Only much later in a child’s development does he make use of this ‘musical prosody’, for instance in delineating and subsequently recognizing word boundaries. In this essay Henkjan Honing makes a case for ‘illiterate listening’, the human ability to discern, interpret and appreciate musical nuances already from day one, long before a single word has been uttered, let alone conceived. It is the preverbal and preliterate stage that is dominated by musical listening. See also the download version.

This study brings recent scholarly debates on oral cultures and literate societies to bear on the earliest recorded literature in German (800-1300). It considers the criteria for assessing what works were destined for listeners, what examples anticipated readers, and how for both modes of reception could apply to one work, exploring the possible interplay between them. The opening chapters review previous scholarship and the introduction of writing into preliterate Germany. The core of the book presents lexical and non-lexical evidence for the different modes of reception, taken from the whole spectrum of genres, from dance songs to liturgy, from drama and heroic literature to the court narrative and lyric poetry. The social contexts of reception and the physical process of reading books are also considered. Two concluding chapters explore the literary and historical implications of the slow interpenetration of orality and literacy. There is a comprehensive bibliographical index of primary sources.

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 August ,1937 onwards, it was published by All India Radio,New Delhi.In 1950,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: 22-03-1937 PERIODICITY OF THE JOURNAL: Fortnightly NUMBER OF PAGES: 48 VOLUME NUMBER: Vol. II, No.7. BROADCAST PROGRAMME SCHEDULE PUBLISHED(PAGE NOS): 294-323 Document ID: INL -1936-37 (D-D) Vol -I (07)

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.In 1950,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: 07-05-1938 PERIODICITY OF THE JOURNAL: Fortnightly NUMBER OF PAGES: 73 VOLUME NUMBER: Vol. III, No. 10. BROADCAST PROGRAMME SCHEDULE PUBLISHED(PAGE NOS): 639-696 ARTICLE: 1. Radiolympia 2. AIR At Work (II. The Villager Sings A Hymn) 3. Sound Advice (Extracts From The Second Talk Of A Popular Series Being Broadcast From Bombay) 4. Classical Music Is Best (The Following Is A Reply To The Article Entitled 'Indian Music:Classical Or Modern? Which Was Published Recently) 5. New Stations On Old Receivers - IV 6. AIR Development Programme (Six New Stations Before The End Of December) AUTHOR: 1. E. H. Phillips 2. Unknown 3. Ayrvoice 4. Ibn-i-Hasan Kaiser 5. Trouble Shooter 6. Unknown KEYWORDS: 1. British Braodcasting Corporation, Radio Manufacturers Association, Closely-Guarded Trade Secrets, Post Office Demonstration, Indian Radiolympia, Wireless Problems, Radio, Olympia 2. Rural Hour, Prayer, Rural Department, Delhi Station 3. Windpipe, Atmospherics in India, Dhobi-Talao, Automatic Volume Control, Middle Of A Jungle, Reception, Radio Signals 4. Sangit Shastra, Western Music, Musical Development, Classical Music 5. Enthusiastic Report, Detector Oscillator, Trimmers 6. New Transmitter, Delhi, Short-Wave Transmitter, Broadcasting Document ID: INL -1936-37 (D-D) Vol -I (10)

Why do people attach importance to the wordless language we call music? Musical Cognition suggests that music is a game. In music, our cognitive functions such as perception, memory, attention, and expectation are challenged; yet, as listeners, we often do not realize that the listener plays an active role in reaching the awareness that makes music so exhilarating, soothing, and inspiring. In reality, the author contends, listening does not happen in the outer world of audible sound, but in the inner world of our minds and brains.Recent research in the areas of psychology and neuro-cognition allows Henkjan Honing to be explicit in a way that many of his predecessors could not. His lucid, evocative writing style guides the reader through what is known about listening to music while avoiding jargon and technical diagrams. With clear examples, the book concentrates on underappreciated musical skills—sense of rhythm and relative pitch—skills that make people musical creatures. Research on how living creatures respond to music supports the conviction that all humans have a unique, instinctive attraction to music. Everyone is musical.Musical Cognition includes a selection of intriguing examples from recent literature exploring the role that an implicit or explicit knowledge of music plays when one listens to it. The scope of the topics discussed ranges from the ability of newborns to perceive a beat, to the unexpected musical expertise of ordinary listeners. The evidence shows that music is second nature to most human beings—biologically and socially. This paperback edition contains a new afterword that details cutting-edge research on musicality and language.