Communicating Through Music Quotes

You'll have a good, secure life when being alive means more to you than security, love more than money, your freedom more than public or partisan opinion, when the mood of Beethoven's or Bach's music becomes the mood of your whole life … when your thinking is in harmony, and no longer in conflict, with your feelings … when you let yourself be guided by the thoughts of great sages and no longer by the crimes of great warriors … when you pay the men and women who teach your children better than the politicians; when truths inspire you and empty formulas repel you; when you communicate with your fellow workers in foreign countries directly, and no longer through diplomats...

Music communicates to us emotionally through systematic violations of expectations.

By exchanging notes, you get to know one another, to understand one another. As if your souls were connected and your hearts were overlapping. It’s a conversation through instruments. A miracle that creates harmony. In that moment, music transcends words.

When first I was put into prison some people advised me to try and forget who I was. It was ruinous advice. It is only by realising what I am that I have found comfort of any kind. Now I am advised by others to try on my release to forget that I have ever been in a prison at all. I know that would be equally fatal. It would mean that I would always be haunted by an intolerable sense of disgrace, and that those things that are meant for me as much as for anybody else - the beauty of the sun and moon, the pageant of the seasons, the music of daybreak and the silence of great nights, the rain falling through the leaves, or the dew creeping over the grass and making it silver - would all be tainted for me, and lose their healing power, and their power of communicating joy. To regret one's own experiences is to arrest one's own development. To deny one's own experiences is to put a lie into the lips of one's own life. It is no less than a denial of the soul.

Signs say things by yelling silently, while dogs communicate quietly through urine. Somewhere in the middle are ducks, and I'm writing a translation dictionary that has one word—Quack. That one word has a hundred thousand meanings or more.

There’s an unspoken language when Gus and I play together. It’s always been that way. We hear and feel music the same way. Communication flows back and forth through the music, one reacting to and feeding off the other. Words are spoken with eyes and subtle nods.

De Profundis by Oscar Wilde (this excerpt inspired my book, The Persecution of Mildred Dunlap. Wilde wrote it to his lover while in prison.) When first I was put into prison some people advised me to try and forget who I was. It was ruinous advice. It is only by realizing what I am that I have found comfort of any kind. Now I am advised by others to try on my release to forget that I have ever been in a prison at all. I know that would be equally fatal. It would mean that I would always be haunted by an intolerable sense of disgrace, and that those things that are meant for me as much as for anybody else – the beauty of the sun and moon, the pageant of the seasons, the music of daybreak and the silence of great nights, the rain falling through the leaves, or the dew creeping over the grass and making it silver – would all be tainted for me, and lose their healing power, and their power of communicating joy. To regret one's own experiences is to arrest one's own development. To deny one's own experiences is to put a lie into the lips of one's own life. It is no less than a denial of the soul.

A powerful leader, like a conductor, need not say a word for his message to be communicated.

Walter Benjamin, in his prescient 1923 essay “One Way Street,” said a book was an outdated means of communication between two boxes of index cards. One professor goes through books, looking for tasty bits he can copy onto index cards. Then he types his index cards up into a book, so other professors can go through it and copy tasty bits onto their own index cards. Benjamin’s joke was: Why not just sell the index cards? I guess that’s why we trade mix tapes. We music fans love our classic albums, our seamless masterpieces, our Blonde on Blondes and our Talking Books. But we love to pluck songs off those albums and mix them up with other songs, plunging them back into the rest of the manic slipstream of rock and roll. I’d rather hear the Beatles’ “Getting Better” on a mix tape than on Sgt. Pepper any day. I’d rather hear a Frank Sinatra song between Run-DMC and Bananarama than between two other Frank Sinatra songs. When you stick a song on a tape, you set it free.

Maybe we communicate with ducks not through words, but with body language. Maybe the word quack doesn’t mean everything—or even anything. Maybe all that matters is what our body says when we converse with a duck.

When not through external events, spirit communicates “internally” via symbols and signs. Symbolic language, like music, is universal and crosses beyond the limitations of verbal and written languages. It is a divine communication. Essentially, the Spirit is using All means necessary to inspire us and to get our attention – not an easy task in the material world of sights, sounds, online messages, TV and movies - and commercialism!

Instead of rules or even strategy, the key to success is culture. Whether we are talking about our moral compass, our world view, or our sensibility and taste, the way that we set these compasses is through the culture that we create and how we communicate that culture through events, e-mail, meetings, blog posts, the rules that we make, and even the music that we play. It is more of a system of mythologies than some sort of mission statement or slogan. —Joi Ito

I must have told my cat I love him at least 123,456 times, but perceiving the words were just Noise Air, I liked to let my hands do my communicating. From my heart, down my arm, through my hand and into his body, each time I pet him I wanted him to feel my love.

The best-known connection between footfall, knowledge and memory is the Aboriginal Australian vision of the Songlines. According to this cosmogony, the world was created in an epoch known as the Dreamtime, when the Ancestors emerged to find the earth a black, flat, featureless terrain. They began to walk out across this non-place, and as they walked they broke through the crust of the earth and released the sleeping life beneath it, so that the landscape sprang up into being with each pace. As Bruce Chatwin explained in his flawed but influential account, ‘each totemic ancestor, while travelling through the country, was thought to have scattered a trail of words and musical notes along the line of his footprints'. Depending on where they fell, these foot-notes became linked with particular features of the landscape. Thus the world was covered by ‘Dreaming-tracks’ that ‘lay over the land as “ways” of communication’, each track having its corresponding Song.... To sing out was–-and still is, just about, for the Songs survive, though more and more of them slip away with each generation–-therefore to find one’s way, and storytelling was indivisible from wayfaring.

Catherine loved it too; (the music) but she said it sounded sweetest at the top of the steps, and she went up in the dark; I followed. They shut the house door below, never noting our absence, it was so full of people. She made no stay at the stairs' head, but mounted farther, to the garret where Heathcliff was confined; and called him. He stubbornly declined answering for a while - she persevered, and finally persuaded him to come to hold communication with her through the boards.

Prayer is communication. Communication involves dialoguing and listening. You talk, God listens. Then God talks and you listen. I think many people, like me, get so caught up in asking we forget to listen for the answer.   God answers in many ways. He speaks through music, songs, scripture, dreams, ideas, and so on. Sometimes as you sit silently, God may provoke a thought or gently urge you to read a particular scripture.   Take time to hear what He has to say. Hear with your heart and Hear with your mind. You’ll be glad you did.

It is the question of "common world". The meaning of this world is not solipsism world, the world of "ego", but the world which can be actualize by my consciousness -according to relation of “ego” and caring for another in everyday life. To care for another means one lets go of self-consciousness and self-awareness and relates. We should consider human is constructed directly in term of their own consciousness and not by contrasting that consciousness with a reality independent of them, on the other hand it is constructed separate of his consciousness. So, we should surely consider the relation of human and the world. It seems that what can link these levels is “life-world” which means the idea of releasing human from worldlessness. Life-world as general sphere of individual experience in the world around (including other persons, objects and events) is a real and concrete phenomenon which has root in everyday life for obtaining its living practical purposes and objectively, considered as the basis of knowledge, interests, benefits and common links between humans. In the realm of life-world, transcendence and consciousness link to individual and group relationship and everyday life. For Heidegger consciousness proceeds from understanding, and this understanding is predicated upon our dealings in the world. Consciousness does not belong to the world, but has a practical relationship with it. What is within consciousness is the exact meaning of the word nothing. Consciousness is nothing but an opening to what they are and can only be talked about in this sense. Consciousness is the relationship we experience in praxis. As for a footballer, bodybuilding and fitness is nothing but the relationship he experiences in act, the day of the race and the subsequent races. Therefore, in this meaning, world without consciousness, intersubjectivity relationships -Alfred Schutz calls this quality as we- pure relation- and everyday life is not imaginable. Because of this matter we can't talk about the world without considering the roles of above items. "As Husserl articulated the life-world can be said to include the world of science and action can’t be without world." We should consider that thought itself arises out of incidents of living experience and must remain bound to them as the only guideposts by which to take its bearings. The artist who continually experiment the possibility of thinking and experience The new, respond to what addressed itself to him, because the new cannot be preconceived. On the other hand The new emerges through process as a shudder that presents itself to us. Even Architecture is not separate from these issues as the communicative. A part of Professor Pezhman Mosleh speech, “Music, Anti-war, a way to Discourse

Invoking John Winthrop, Reagan said, “I’ve spoken of the shining city all my political life, but I don’t know if I ever quite communicated what I saw when I said it.” It was a free, proud city, built on a strong foundation, full of commerce and creativity, he said, adding, “If there had to be city walls, the walls had doors, and the doors were open to anyone with the will and the heart to get here.” Whatever his faults, Ronald Reagan believed in the possibilities of a country that was forever reinventing itself. “And how stands the city on this winter night?” Reagan asked. “More prosperous, more secure, and happier than it was eight years ago…. And she’s still a beacon, still a magnet for all who must have freedom, for all the pilgrims from all the lost places who are hurtling through the darkness, toward home.

I had better come clean now and say that I do not believe that art (all art) and beauty are ever separate, nor do I believe that either art or beauty are optional in a sane society." "That puts me on the side of what Harold Bloom calls 'the ecstasy of the privileged moment. Art, all art, as insight, as transformation, as joy. Unlike Harold Bloom, I really believe that human beings can be taught to love what they do not love already and that the privileged moment exists for all of us, if we let it. Letting art is the paradox of active surrender. I have to work for art if I want art to work on me." (...) We know that the universe is infinite, expanding and strangely complete, that it lacks nothing we need, but in spite of that knowledge, the tragic paradigm of human life is lack, loss, finality, a primitive doomsaying that has not been repealed by technology or medical science. The arts stand in the way of this doomsaying. Art objects. The nouns become an active force not a collector's item. Art objects. "The cave wall paintings at Lascaux, the Sistine Chapel ceiling, the huge truth of a Picasso, the quieter truth of Vanessa Bell, are part of the art that objects to the lie against life, against the spirit, that is pointless and mean. The message colored through time is not lack, but abundance. Not silence but many voices. Art, all art, is the communication cord that cannot be snapped by indifference or disaster. Against the daily death it does not die." "Naked I came into the world, but brush strokes cover me, language raises me, music rhythms me. Art is my rod and my staff, my resting place and shield, and not mine only, for art leaves nobody out. Even those from whom art has been stolen away by tyranny, by poverty, begin to make it again. If the arts did not exist, at every moment, someone would begin to create them, in song, out of dust and mud, and although the artifacts might be destroyed, the energy that creates them is not destroyed. If, in the comfortable West, we have chosen to treat such energies with scepticism and contempt, then so much the worse for us. "Art is not a little bit of evolution that late-twentieth-century city dwellers can safely do without. Strictly, art does not belong to our evolutionary pattern at all. It has no biological necessity. Time taken up with it was time lost to hunting, gathering, mating, exploring, building, surviving, thriving. Odd then, that when routine physical threats to ourselves and our kind are no longer a reality, we say we have no time for art. "If we say that art, all art is no longer relevant to our lives, then we might at least risk the question 'What has happened to our lives?

Sensuality is for you, not about you. It’s for you in a sense that you are allowed to indulge all of your senses and taste the goodness of this world and beyond. It’s also for you in a sense that you’re allowed to curate and express yourself in an authentic way (i.e. in the way you dress, communicate, live, love, play, etc.). However, sensuality is not ABOUT you, it’s about those to whom you were brought here to touch and inspire. It’s about the joy and pleasure you’re here to bring. You didn’t come here for yourself nor empty-handed, but you came here bearing special gifts. You were brought here to be a vessel of sensual innovation and a conveyor of heaven’s most deepest pleasures. Your passion is an indication of the sensual gift(s) you were endowed with before you made your grand entry into this world. Your divine mandate now is to exploit every sensual gift you have to the fullest whether it’s music, photography, boudoir or fashion modeling, etc. If you have a love for fashion, always dress impeccably well like my friend Kefilwe Mabote. If you have a love for good food and wine, create culinary experiences the world has never seen before like chef Heston Blumenthal whom I consider as one of the most eminent sensual innovators in the culinary field. Chef Heston has crafted the most sensually innovative culinary experience where each sense has been considered with unparalleled rigour. He believes that eating is a truly multi-sensory experience. This approach has not only led to innovative dishes like the famous bacon and egg ice cream, but also to playing sounds to diners through headphones, and dispersing evocative aromas with dry ice. Chef Heston is indeed a vessel of sensual innovation and a conveyor of heaven’s most deepest pleasures in his own right and field. So, what sensual gift(s) are you here to use? It doesn’t have to be a big thing. For instance, you may be a great home maker. That may be an area where you’re endowed with the most sensual innovative abilities than any other area in your life. You need to occupy and shine your light in that space, no matter how small it seems.

Throughout history we read of Masters in every conceivable form of human endeavor describing a sensation of suddenly possessing heightened intellectual powers after years of immersion in their field. The great chess Master Bobby Fischer spoke of being able to think beyond the various moves of his pieces on the chessboard; after a while he could see “fields of forces” that allowed him to anticipate the entire direction of the match. For the pianist Glenn Gould, he no longer had to focus on notes or parts of the music he was playing, but instead saw the entire architecture of the piece and could express it. Albert Einstein suddenly was able to realize not just the answer to a problem, but a whole new way of looking at the universe, contained in a visual image he intuited. The inventor Thomas Edison spoke of a vision he had for illuminating an entire city with electric light, this complex system communicated to him through a single image. In all of these instances, these practitioners of various skills described a sensation of seeing more. They were suddenly able to grasp an entire situation through an image or an idea, or a combination of images and ideas. They experienced this power as intuition, or a fingertip feel.

Sacraments   I once met a man whom I’ll call Steve. He grew up in a nondenominational charismatic church. He was a highly motivated, highly talented individual. He was also a strong leader and an excellent communicator. Given his personality and gifting, it’s no surprise that he became the pastor of a successful independent church. His life seemed to be going great until the day he discovered that his wife was having an affair with one of his best friends. The situation got worse when his church fired him for not being able to control his family.   Unemployed, going through a divorce, and cut off from the community that had always surrounded him, a friend invited Steve to join him at an Anglican church. There he discovered the power of liturgy and the mystery of the communion table. Steve didn’t have the kind of spiritual life he had always relied on. Nothing about God made any sense to him. He couldn’t sing praise songs, he couldn’t read the Bible, he couldn’t even pray. But he could eat.   Steve’s mind needed answers. His heart needed to be comforted. His soul needed grace. Sermons weren’t giving him answers and praise music wasn’t comforting, but the body of Christ was feeding his inner self. Steve discovered that God was real to him when he ate and drank Holy Communion. Even though Steve was at the lowest point of his life, a time when he could do nothing to help himself, he was still able to receive the sacrament.

There is safety in learning doctrine in gatherings which are sponsored by proper authority. Some members, even some who have made covenants in the temple, are associating with groups of one kind or another which have an element of secrecy about them and which pretend to have some higher source of inspiration concerning the fulfillment of prophecies than do ward or stake leaders or the General Authorities of the Church. Know this: There are counterfeit revelations which, we are warned, “if possible . . . shall deceive the very elect, who are the elect according to the covenant.” (JS—M 1:22.) . . . For the past several years we have watched patterns of reverence and irreverence in the Church. While many are to be highly commended, we are drifting. We have reason to be deeply concerned. The world grows increasingly noisy. Clothing and grooming and conduct are looser and sloppier and more disheveled. Raucous music, with obscene lyrics blasted through amplifiers while lights flash psychedelic colors, characterizes the drug culture. Variations of these things are gaining wide acceptance and influence over our youth. . . . This trend to more noise, more excitement, more contention, less restraint, less dignity, less formality is not coincidental nor innocent nor harmless. The first order issued by a commander mounting a military invasion is the jamming of the channels of communication of those he intends to conquer. Irreverence suits the purposes of the adversary by obstructing the delicate channels of revelation in both mind and spirit.

Interestingly enough, creative geniuses seem to think a lot more like horses do. These people also spend a rather large amount of time engaging in that favorite equine pastime: doing nothing. In his book Fire in the Crucible: The Alchemy of Creative Genius, John Briggs gathers numerous studies illustrating how artists and inventors keep their thoughts pulsating in a field of nuance associated with the limbic system. In order to accomplish this feat against the influence of cultural conditioning, they tend to be outsiders who have trouble fitting into polite society. Many creative geniuses don’t do well in school and don’t speak until they’re older, thus increasing their awareness of nonverbal feelings, sensations, and body language cues. Einstein is a classic example. Like Kathleen Barry Ingram, he also failed his college entrance exams. As expected, these sensitive, often highly empathic people feel extremely uncomfortable around incongruent members of their own species, and tend to distance themselves from the cultural mainstream. Through their refusal to fit into a system focusing on outside authority, suppressed emotion, and secondhand thought, creative geniuses retain and enhance their ability to activate the entire brain. Information flows freely, strengthening pathways between the various brain functions. The tendency to separate thought from emotion, memory, and sensation is lessened. This gives birth to a powerful nonlinear process, a flood of sensations and images interacting with high-level thought functions and aspects of memory too complex and multifaceted to distill into words. These elements continue to influence and build on each other with increasing ferocity. Researchers emphasize that the entire process is so rapid the conscious mind barely registers that it is happening, let alone what is happening. Now a person — or a horse for that matter — can theoretically operate at this level his entire life and never receive recognition for the rich and innovative insights resulting from this process. Those called creative geniuses continuously struggle with the task of communicating their revelations to the world through the most amenable form of expression — music, visual art, poetry, mathematics. Their talent for innovation, however, stems from an ability to continually engage and process a complex, interconnected, nonlinear series of insights. Briggs also found that creative geniuses spend a large of amount of time “doing nothing,” alternating episodes of intense concentration on a project with periods of what he calls “creative indolence.” Albert Einstein once remarked that some of his greatest ideas came to him so suddenly while shaving that he was prone to cut himself with surprise.

One could spend a lifetime mastering the technical aspects of the piano and never achieve a state of musical expression - that alchemy by which the performer not only comprehends the sentiments of the composer, but somehow communicates them to her audience through the manner of her play. Whatever personal sense of heartache Chopin had hoped to express through this little composition - whether it had been prompted by a loss of love, or simply sweet anguish one feels when witnessing a mist on a meadow in the morning - it was right there, ready to be experienced to its fullest, in the ballroom of the Hotel Metropol one hundred years after the composer's death. But how, the question remained, could a seventeen-year-old girl achieve this feat of expression, if not by channeling a sense of loss and longing of her own?

Literature is the spirit of the Culture, the lifeblood. They’re one and the same. Words are everywhere. Storytelling is everywhere. Stories have been essential to human survival since prehistory: at their most base, they are how we communicate both threats and opportunities. They are how the subconscious sorts through problems as we rest; through the narratives that are dreams, we can go on and address life’s travails. Literature refines these functions, elevates them to the spiritual realm. That’s why words are so important, why literature is the highest art. Visual artworks, if not directly inspired by literature or telling their own stories, are still described in words. Dance is often performed as part of a story, and if not, is still described in words. The only thing that could conceivably rival it, as something unrelated, would be classical music, but even the masters in that field were often inspired by works in the Canon, and titled their compositions in words. Words give all things meaning. Stories are fundamental to the human experience.

Although generally secretive in revealing his inner turmoils, and while no woman could ever displace Gladys, Elvis felt most at ease discussing his feelings with members of the opposite sex. He was emotionally brittle and not always capable of containing all the turmoil that churned inside him. There were times he would snap, and raw emotion would come boiling out. He was extremely needy of others' love and acceptance, but would express this in a primitive, mechanical fashion, attempting to "purchase" friendship by offering objects in return, not emotions. Most profoundly, from the deepest reaches of his psyche, he was slowly and inexorably driven to communicate with others through music.

One could spend a lifetime mastering the technical aspects of the piano and never achieve a state of musical expression—that alchemy by which the performer not only comprehends the sentiments of the composer, but somehow communicates them to her audience through the manner of her play.

Jason Bowen, a storyteller in the science fiction industry, brings narratives to life through language and communication. His Butler, a steadfast companion, ensures that every word resonates with purpose. Beyond the scripts, Jason's love for music and exercise creates a dynamic rhythm in the orchestra of his life, echoing the beats of passion and creativity.

Folk music passes along stories and allegories. Blues talks about the conditions of life. Jazz operates through mostly wordless intellect. Soul is all about relationships. Rock has substance and the ability to communicate it worldwide. And that includes its greatest hybrid, Reggae. Bob Marley was the ultimate example. Got to be neck and neck with Muhammad Ali for most well-known human on the planet. Get Tim White’s book on Marley. Incredible. I mentioned it once earlier, but I want you to remember it.

But music is meant to be shared. It’s communication. The music itself taking life through an instrument or a voice, then reaching into the hearts and bodies of other people, and coming back. I never feel so alive as when I’m playing for people, with them. My heart lifts a little.

The world grows increasingly noisy,” President Boyd K. Packer observed. “Raucous music, with obscene lyrics blasted through amplifiers while lights flash psychedelic colors, characterizes the drug culture. Variations of these things are gaining wide acceptance and influence over our youth. . . . This trend to more noise, more excitement, more contention, less restraint, less dignity, less formality is not coincidental nor innocent nor harmless. The first order issued by a commander mounting a military invasion is the jamming of the channels of communication of those he intends to conquer. . . . No one of us can survive in the world of today, much less in what it soon will become, without personal inspiration.

bold front she portrayed, this Earth woman had concerns he might not have considered. For all she knew, the Challenge had begun the moment she’d traveled through time. At the moment, he had absolutely no idea what she was thinking. FINALLY, KAHN decreased the stimulation in Tessa’s suit. After several minutes of diminished intensity, she’d recovered enough to concentrate better on his words, but focusing wasn’t easy. Kahn folded his arms over his chest. “We have less than a month to train you for the Challenge. Our goal is for you to operate your suit and our machinery at the highest proficiency possible. Watch and do not be alarmed.” Tessa blinked as the man went from seductive to businesslike. She’d thought he would accept her invitation for him to touch her without hesitation—but he wanted to talk about machinery. Kahn had picked a hell of a time to change the subject, and her elevated hormones were going nuts. She fought those hormones by telling herself that her body had simply responded to the unwanted stimulation in a natural manner. She drew in deep breaths through her nose and forced air from her mouth in an attempt to clear her head. Kahn opened a wall panel and again showed her the communications screen. “Beside the screen is a musical library and a holovision system for entertainment.” “Okay.” She forced herself to listen even while her nerves endings demanded attention. At least her suit had stopped the nonsense, but she still tingled from the after effects. And she couldn’t help noticing Kahn’s muscular body in a way she hadn’t before Dora’s suggestion. No longer could she assess his musculature only as that of an opponent. Now she saw his muscles as pleasing to the eye, his flesh satisfying to her touch, his lips gratifying her desire to be kissed. A startling idea popped into her mind, unbidden

Truth be told, we never actually made it to the music festival itself- our bus got a flat tire at a campground in northern Alabama. Still, the campground introduced us to snake-handling and seances which did wonders for our historical consciousness, particularly the seance in which a Confederate soldier would only communicate through kazoo notes translated into Morse Code.

The definition of music used in this course will be as follows: music is the universal language of emotions communicated through intelligently ordered sounds consisting of rhythm and pitch. (The first half of this definition was arrived at through

Your lack of attention to detail is why no one is paying attention to you. ‪‎Professionalism‬, ‪Communication‬ & Follow Through Builds Real Success.

Had he felt pride in Sofia before? Of course he had. On a daily basis. He was proud of her success in school, of her beauty, of her composure, of the fondness with which she was regarded by all who worked in the hotel. And that is how he could be certain that what he was experiencing at that moment could not be referred to as pride. For there is something knowing in the state of pride. Look, it says, didn’t I tell you how special she is? How bright? How lovely? Well, now you can see it for yourself. But in listening to Sofia play Chopin, the Count had left the realm of knowing and entered the realm of astonishment. On one level he was astonished by the revelation that Sofia could play the piano at all; on another, that she tackled the primary and subordinate melodies with such skill. But what was truly astonishing was the sensitivity of her musical expression. One could spend a lifetime mastering the technical aspects of the piano and never achieve a state of musical expression—that alchemy by which the performer not only comprehends the sentiments of the composer, but somehow communicates them to her audience through the manner of her play. Whatever personal sense of heartache Chopin had hoped to express through this little composition—whether it had been prompted by a loss of love, or simply the sweet anguish one feels when witnessing a mist on a meadow in the morning—it was right there, ready to be experienced to its fullest, in the ballroom of the Hotel Metropol one hundred years after the composer’s death. But how, the question remained, could a seventeen-year-old girl achieve this feat of expression, if not by channeling a sense of loss and longing of her own? As Sofia began the third iteration of the melody, Viktor Stepanovich looked over his shoulder with his eyebrows raised, as if to say: Can you believe it? Have you ever in all your years even imagined? Then he quickly looked back to the piano and dutifully turned the page for Sofia almost in the manner of an apprentice turning the page for his master.

He demonstrated by gently drawing her hand over to the piano keys and placing his hand over hers. He pressed the top of her fingers so that they came down, and a few notes echoed through the instrument. Soon they were playing a simple yet haunting melody together. ‘In many ways that actually makes it a superior way of communicating.’ He let her hand go but a tingle remained, the sensation so pleasant she held her palm to her chest. Lottie found herself completely entranced as Jamie began working his fingers over the keys. His light mocha skin delicately complemented the ivories, as though they were meant to be together. His eyes slowly closed, gripped by the melody, and Lottie couldn’t help being drawn in by the delicate music. ‘You really love music, don’t you?

the world between left-brainers (rational, logical people) and right-brainers (the intuitive, artistic ones), but I hadn’t paid much attention to this idea. However, our scans clearly showed that images of past trauma activate the right hemisphere of the brain and deactivate the left. We now know that the two halves of the brain do speak different languages. The right is intuitive, emotional, visual, spatial, and tactual, and the left is linguistic, sequential, and analytical. While the left half of the brain does all the talking, the right half of the brain carries the music of experience. It communicates through facial expressions and body language and by making the sounds of love and sorrow: by singing, swearing, crying, dancing, or mimicking. The right brain is the first to develop in the womb, and it carries the nonverbal

The explanation is, that the factor of personality known as “personal magnetism” is nothing more nor less than sex energy. Highly sexed people always have a plentiful supply of magnetism. Through cultivation and understanding, this vital force may be drawn upon and used to great advantage in the relationships between people. This energy may be communicated to others through the following media: 1. The hand-shake. The touch of the hand indicates, instantly, the presence of magnetism, or the lack of it. 2.   The tone of voice. Magnetism, or sex energy, is the factor with which the voice may be colored, or made musical and charming. 3. Posture and carriage of the body. Highly sexed people move briskly, and with grace and ease. 4.   The vibrations of thought. Highly sexed people mix the emotion of sex with their thoughts, or may do so at will, and in that way, may influence those around them. 5.   Body adornment. People who are highly sexed are usually very careful about their personal appearance. They usually select clothing of a style becoming to their personality, physique, complexion, etc.

For the Inklings, language is not a communication tool but rather a portal into being – an invisible reality summoned into our world through the shape and sound of words. Properly speaking, words are incantations.

there are crucial differences between the right hemisphere of the brain and the left. The left brain is the thinking brain as it is highly verbal and analytical. It operates as a conscious emotion regulation system that can modulate low to medium arousal. It is the domain of cognitive strategies as it processes highly verbal emotions such as guilt and worrisome anxiety. In contrast, the right hemisphere is the emotional brain. It processes all of our intense emotions, regardless of whether they are negative, such as rage, fear, terror, disgust, shame and hopeless despair, or positive such as excitement, surprise, and joy. When our level of emotional arousal escalates the left hemisphere goes off-line and the right hemisphere dominates. Our right brain enables us to read the subjective state of others through its appraisal of subtle facial (visual and auditory) expressions and other forms of nonverbal communication. The right hemisphere is more holistic than the left, holding many different possibilities simultaneously. Dreams, music, poetry, art, metaphor and other creative processes originate in the right hemisphere. The first critical period of development of the right brain begins during the third trimester of pregnancy and this growth spurt continues into the second year of life. It is primarily the right brain which is shaped by our early relational environment and which is crucial for the development of emotional security. Around two months after birth the right anterior cingulate comes on-line, meaning that it allows for more complex processing of social-emotional information than the earlier maturing amygdala. It is responsible for developing attachment behavior. Starting from about tenth months after birth, the highest level of the emotional brain, the right orbitofrontal cortex, becomes active. It continues developing for the next twenty years and remains exceptionally plastic throughout our entire life span. During the second year of life the right orbitofrontal cortex establishes strong, bidirectional connections with the rest of the limbic system. Once these connections are established it then monitors, refines, and regulates amygdala-

Sometimes, years later, while going about your ordinary business, thinking you’re okay and that you’ve left it all behind, a random scent, a snatch of music, a certain color, will slash a broken shard of memory through your brain. You’ll stop dead in your tracks, feel confused as all your neural circuits waken fight-or-flight hormones into your body—the same neurochemicals that were associated with that night, because as neuroscience will tell you, what fires together, wires together. So while your mind won’t hold the whole picture, you realize your body does. Your body knows. But your body is not communicating properly with your brain in a way that will give you a narrative around that trauma, something you can understand. And you need that narrative in order to become whole again. In desperation you reach for a bottle of wine, or pills, or you doggedly escape into some other addictive behavior, whether it’s long-distance running, or kickboxing, or dieting, or excelling at work, or dangerous snooping, or hiding behind masks and makeup and theatrical roles, becoming an Anonymous Girl.

A prediction about safety is not, of course, merely statistical or demographic. If it were, a woman crossing a park alone one late afternoon could calculate risk like this: there are 200 people in the park; 100 are children, so they cause no concern. Of the remaining 100, all but 20 are part of couples; 5 of those 20 are women, meaning concern would appropriately attach to about 15 people she might encounter (men alone). But rather than acting just on these demographics, the woman’s intuition will focus on the behavior of the 15 (and on the context of that behavior). Any man alone may get her attention for an instant, but among those, only the ones doing certain things will be moved closer to the center of the predictive circle. Men who look at her, show special interest in her, follow her, appear furtive, or approach her will be far closer to the center than those who walk by without apparent interest, or those playing with a dog, or those on a bicycle, or those asleep on the grass. Speaking of crossing a park alone, I often see women violating some of nature’s basic safety rules. The woman who jogs along enjoying music through Walkman headphones has disabled the survival sense most likely to warn her about dangerous approaches: her hearing. To make matters worse, those wires leading up to her ears display her vulnerability for everyone to see. Another example is that while women wouldn’t walk around blind-folded, of course, many do not use the full resources of their vision; they are reluctant to look squarely at strangers who concern them. Believing she is being followed, a woman might take just a tentative look, hoping to see if someone is visible in her peripheral vision. It is better to turn completely, take in everything, and look squarely at someone who concerns you. This not only gives you information, but it communicates to him that you are not a tentative, frightened victim-in-waiting. You are an animal of nature, fully endowed with hearing, sight, intellect, and dangerous defenses. You are not easy prey, so don’t act like you are.

Activities to Develop the Auditory System Simplify your language. Speak slowly, shorten your comments, abbreviate instructions, and repeat what you have said. Reinforce verbal messages with gestural communication: facial expressions, hand movements, and body language. Talk to your child while she dresses, eats, or bathes, to teach her words and concepts, such as nouns (sunglasses, casserole), body parts (thumb, buttocks), prepositions (around, through), adjectives (juicy, soapy), time (yesterday, later), categories (vegetables/fruits), actions (zip, scrub), and emotions (pleased, sorry). Share your own thoughts. Model good speech and communication skills. Even if the child has trouble responding verbally, she may understand what you say. Take the time to let your child respond to your words and express his thoughts. Don’t interrupt, rush, or pressure him to talk. Be an active listener. Pay attention. Look your child in the eye when she speaks. Show her that her thoughts interest you. Help your child communicate more clearly. If you catch one word, say, “Tell me more about the truck.” If you can’t catch his meaning, have him show you by gesturing. Reward her comments with smiles, hugs, and verbal praise, such as, “That’s a great idea!” Your positive feedback will encourage her to strive to communicate. (Don’t say, “Good talking,” which means little to the child and implies that all you care about is words, rather than the message the child is trying to get across.) Use rhythm and beat to improve the child’s memory. Give directions or teach facts with a “piggyback song,” substituting your words to a familiar tune. Example: To the tune of “Mary Had a Little Lamb,” sing, “Now it’s time to wash your face, Brush your teeth, comb your hair, Now it’s time to put on clothes, So start with underwear!” Encourage your child to pantomime while listening to stories and poems, or to music without words. Read to your child every day!

Similar to the Rodrigo in form, “La Catedral” has a slow, atmospheric introduction, followed by an episodic, rhythmic dance. It is constructed around a simple figure, an arpeggio that Barrios pushes through a series of chord changes: a small gesture, undistinguished in itself, yet full of musical possibilities. I set the music stand aside and play it from memory. The first finger of my left hand holds a bass note while above the theme sways with a tentative rise and fall. My left hand feels secure and steady, the ground on which the music builds. My fingers make swift, pulsing motions that gain weight and mass when the sound is larger, louder. The arpeggio grows increasingly insistent and agitated. I feel every note, not just in my fingers but along my arms to the elbows, where the fingers’ motions begin, and into my shoulders, neck, chest, and back. Everything is connected. My ear, my muscles, my flesh, these notes, and this wood and string—all are parts of a single vibrating structure, communicating their movement to each other. Playing feels different now. For the first time this cathedral is really dancing. It's built on a questioning anxiety. But the structure develops a kind of reassurance, like pleading that becomes a prayer. This feeling is not notated on the page. It is something that takes place within the notes, or between them, and within my body, within the guitar's body. I first played this piece in my third year at the Conservatory, just about the time I bought my church door guitar. With so fine an instrument in my hands, I suddenly heard an unexplored dimension latent in everything I played, as if the guitar knew things I had never dreamed of. It was a moment of great promise for me. The guitar offered a quality of vibration beyond anything I had imagined before, bringing greater forces into motion than just the strings. But in those days I couldn't play it. I was braced too tightly. Playing now feels somehow simpler. I'm not practicing a fantasy of the guitar or of myself, but this instrument, this wood, these strings; I'm playing this music, letting these notes dance. It's easy to forget how simple music is. I'm like a soundboard, whose job is to communicate excitement, to balance tension. Building the instrument and learning to play it involve complicated physics. But music is about vibration, about allowing myself to be moved.

The stab that I'd take with this situation the moment I felt ready I spoke to my mother lately when I'm old be fore I marrid by that I didnt what i expected from her instead she didnt notice the pain that i'd eexperianced through. To heal myself I forgave her,accepted my situation learn to live positive in it.In the side of forgive the group of men that raped me continueosly I decided to live my home town to start new life another town where I meet with my soul partner God provided with handsome suitable guy as I had issued with men it took God's misterious ways to connect us he's my friend and prayer partner God blessed us with two sons and one doughter, he continue on helping us on raising our kids again i deed decision of raing our kids for myself by being house wife thanks God and my husband to be succed i 'm not perfect but i tried with God help and my closest friends,family it heppening.As i developed anger, sensitive and other unneeded personality throught my issue activities like body training,blogging,podcusting,reading bible and other booksk,being author,listing music special gospel help me to be in right position.The thing i can ask or say to other to other people is "Women Please love and protect your kids let stop this take quick action to help them if you see suspetious thing be close to them in a way that you manage to see if there's something not right heppen to them cause sometimes they will not tell you like on my case in any reason usualy strangers or rapist make them not say anything or your communication with them is not strong enough or any reason they make them shut To the community let protect each other be your sisters or brothers keeper on your neighborhood or in house report the susptious act cause tomorrow will heppen in your house.Men you are the master protector not rapist stand your ground as God do trusted you with kids and women protect them stop taking advantage who ever does that.To those who like me the victim of rape I'm your girl to use alcohol,drugs and sex edict throw shame and unclean feeling is not solution it only running away act ask yourself that how long you'll runing away with cancer that eating you alive,face by allowing God to be your sim card, rica him and let him operate in you by rebuid you make you a new creation spiritual by acepting Jesus Christ as lord and your savior, healer and believe that God raised him from death in your special prayer with your mouth loud as confesion as I deed you'll be safe 100% in his arms like I am your story will change completly as mine finely no one knows you better dont allow situation explain you you beautiful handsome valueble God love you more than every one and he cares about you I love you'll take care of yourself youre the hero &herous.

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Over the next few rehearsals, the producer kept walking up to me and [saying], “It sounds like smooth jazz, what you’re doing there.” And I’m thinking, smooth jazz? I’m not even playing with that sort of articulation [or] phrasing at all. I’m going straight for some cool jazz, a modal thing. And he says, “Ah, it sounds nam-by-pamby.” And I’m like, “Okay.” Then the director said, “Stuart, you’ve got to do something else for this. I need you to ‘squeeze the lemon.’ I need you to really seduce this woman with your saxophone.” And—not that I make a habit of this sort of behavior—but I think there is only one person in this room who has had a romantic encounter through playing the saxophone, and it’s me! I think I’m the expert! Not that the saxophone has been the aphrodisiac that the world may imagine, but what it does have, I feel like I have at least been exposed to. So I was like, “Fine, fine, fine.” And I did an impersonation of what I thought was old burlesque saxophone, you know like “va do va vu va ve va vu vuh.” I’m like, this is ridiculous. And after, everyone was saying, “Yeah!” And I’m like, “What? You like that?” And they say, “Yeah, yeah, that’s perfect.” Afterward I was getting a drink of water and one of the dancers came up to me and [said], “Stuart, I don’t know what you were doing with your saxophone in that last run-through, but that was fantastic.” I’m like, “Are you kidding me? This is what impressed you?” Okay, all right, I get it. I’ve just got to get out of my own silly head and remember that I’m painting in primary colors; I have things to communicate, and too subtle of a tonal area isn’t going to work. I was dead wrong, and they were right. It’s a different thing, what translates on Broadway. If you go to a Broadway show, I think the actors probably experience a similar thing—if you go up there like a film actor, you are not going to communicate anything. It’s not going to reach the edge of the stage. You need more concrete gestures.

Lamm's system—dubbed the Baron Lamm Technique—worked well. From 1919 to 1930 it brought Lamm hundreds of thousands of dollars from banks around the country; after his death it was taught to John Dillinger, among others.* Lamm's system, still employed today succeeded not only because of its conceptual strength but also because Lamm was able to communicate his ideas and translate them into the seamless performance of an immensely difficult task. He was an innovator who taught with discipline and exactitude. He inspired through information. In short, Baron Lamm was a master coach.

and are often taunted regarding physical features like their eyes, nose, teeth, neck, knees, feet, voice, hair texture, or their complexion. Boys are criticized for liking girls; girls are criticized for liking boys. Some boys don’t care for sports. Some girls don’t like to play house. Teenagers require more sleep. Kids have always had their own way of communicating, their unique style of clothes and hair, and distinctive music. Kids go through awkward times where they don’t think they’re attractive, smart, or interesting. What is key in all of this is that a parent should communicate nothing but acceptance for the unique characteristics of their children. When they do that, a child senses the kind of acceptance that God has for us in our uniqueness. What is key in all of this is that a parent should communicate nothing but acceptance for the unique characteristics of their children.

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Many people enter neuroscience from a background in biology or chemistry and their principal focus is on the mechanisms by which cells communicate with each other. To the cognitive neuroscientist, understanding the anatomy or physiology of the brain may be a challenging intellectual exercise (the brain scientists’ equivalent of a really complicated crossword puzzle), but it is not the ultimate goal of the work. Our goal is to understand thought processes, memories, emotions, and experiences, and the brain just happens to be the box that all this happens in. To return to the telephone analogy and conversations you might have with different friends who influence your emotions: If I want to predict how you’re going to feel tomorrow, it will be of only limited value for me to map the layout of the telephone lines connecting all the different people you know. More important is to understand their individual proclivities: Who is likely to call you tomorrow and what are they likely to say? How are they apt to make you feel? Of course, to entirely ignore the connectivity question would be a mistake too. If a line is broken, or if there is no evidence of a connection between person A and person B, or if person C can never call you directly but can only influence you through person A who can call you directly—all this information provides important constraints to a prediction. This perspective influences the way I study the cognitive neuroscience of music.

Then followed a most charming surprise. William mastered his timidity and began to sing. His voice was a little faint and frail, like the family daguerreotypes, but it was a tenor voice, and perfectly true and sweet. I have never heard Home, Sweet Home sung as touchingly and seriously as he sang it; he seemed to make it quite new; and when he paused for a moment at the end of the first line and began the next, the old mother joined him and they sang together, she missing only the higher notes, where he seemed to lend his voice to hers for the moment and carry on her very note and air. It was the silent man's real and only means of expression, and one could have listened forever, and have asked for more and more songs of old Scotch and English inheritance and the best that have lived from the ballad music of the war. Mrs. Todd kept time visibly, and sometimes audibly, with her ample foot. I saw the tears in her eyes sometimes, when I could see beyond the tears in mine. But at last the songs ended and the time came to say good-by; it was the end of a great pleasure.

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