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Apr 6, 2009 | Posted Under: Thinking

BUY Isoniazid ONLINE WITHOUT PRESCRIPTION, A few days ago, I practiced for a couple of hours in a hall here in Madrid. Buy Isoniazid ONLINE WITHOUT prescription, As I walked out of the hall and headed for the subway station to go home, I was lost in my thoughts about the music I had been working on, order Isoniazid online c.o.d. Buy Isoniazid without prescription, Humming under my breath, I revisited a phrase from the Chopin B minor sonata in my head and walked rather obliviously toward the station, where can i buy Isoniazid online. Australia, uk, us, usa, It wasn't until I got home later that evening, that I saw on the news that I had walked right past a rather large and vocal protest, order Isoniazid from United States pharmacy. Isoniazid samples, I vaguely recalled seeing some police officers and people on the street, but the scene, online buying Isoniazid hcl, Isoniazid for sale, and more importantly, the sounds from that very loud protest had simply not registered as I walked past, buy Isoniazid from mexico. I have previously posted on this blog my thoughts on the differences between hearing and listening, BUY Isoniazid ONLINE WITHOUT PRESCRIPTION. Isoniazid gel, ointment, cream, pill, spray, continuous-release, extended-release, As I thought about how I perceive sounds in different ways depending upon the situation, I wanted to revisit this issue.

During my practice sessions, japan, craiglist, ebay, overseas, paypal, Rx free Isoniazid, I become so absorbed in what I'm doing that I will not hear the phone ring or realize when someone is speaking to me. When I was younger, buy Isoniazid without a prescription, Isoniazid from canadian pharmacy, this was the cause of a lot of laughter in my family. My mother would actually have to touch me before I would lift my eyes away from the piano, purchase Isoniazid online, Canada, mexico, india, look at her, and then realize that she's actually saying something to me, ordering Isoniazid online. Buy Isoniazid no prescription, My brother's favorite past time was to come up behind me while I was practicing and scare the living daylights out of me. BUY Isoniazid ONLINE WITHOUT PRESCRIPTION, Of course, it's not that I don't actually hear the sound - rather, it's more like my active "listening" is so focused on what I'm working on that any other extraneous sound from my surroundings simply does not register in my head, or enter my sphere of attention. The sounds around me are filtered through the "hearing" part of my brain and doesn't get processed in the "listening" section.

The exact opposite situation happens when I perform, buy generic Isoniazid. Order Isoniazid from mexican pharmacy, As I sit at the piano on stage, every sound from the hall or audience - the rustle of a skirt, where can i buy Isoniazid online, Where to buy Isoniazid, the turning of a page in the program, the sound of someone whispering to their neighbor, Isoniazid for sale, Isoniazid trusted pharmacy reviews, a raspy cough, the crinkling of a candy wrapper or cough drop - becomes unbelievably magnified, rx free Isoniazid, Order Isoniazid no prescription, and I feel as though a megaphone is directly attached to my ear and is amplifying every sound from my surroundings. In this case, where can i find Isoniazid online, Fast shipping Isoniazid, my listening becomes so active and sensitive to the acoustics, vibe, buy cheap Isoniazid, Buying Isoniazid online over the counter, and subtle nuances of the space within which I am about to produce music, that every other sound also gets caught in my "listening net" and feels like an incredible intrusion or interference, online buying Isoniazid hcl. Order Isoniazid from United States pharmacy, It is the same when I rehearse in a hall prior to a performance - if someone enters the hall or walks nearby, I feel the energy of the space drastically shift, Isoniazid from canadian pharmacy. This is the reason why I usually request that my rehearsals be closed so that I have the needed "alone" time on the day of a performance to absorb the space of the hall.

This difference also permeates into the periods after I make music, BUY Isoniazid ONLINE WITHOUT PRESCRIPTION. Canada, mexico, india, After I practice, rehearse, buy generic Isoniazid, Purchase Isoniazid ONLINE WITHOUT prescription, or perform, it takes me at least an hour to come down from the music-induced listening (the reason for my experience on the street the other day), buy no prescription Isoniazid online. Isoniazid gel, ointment, cream, pill, spray, continuous-release, extended-release, I remain in a rather spacey state in which I'm still occupied with listening to music (even if it's just in my head), and everything else immediately goes into the section of my brain reserved for background noise, buy Isoniazid online cod. After about an hour or so, my sound perceptions start to shift back to its normal equilibrium.

I am fascinated with how music, or any type of endeavor that requires one to reach internally for a higher degree of awareness , can cause a shift by bringing some elements to the foreground while pushing others to the back. This holds true whether I am the one making music or the one experiencing it. For example, I cannot listen to a wonderful recording while I do small tasks or errands around the house. A powerful recording will demand my attention, push itself to the front, and will not settle into the fuzzy realm of "background noise." I cannot continue to wash dishes or cook - I have to actually sit down, listen, and absorb what is being said.

Whether it's the composition or interpretation of a musician, the speech of an orator, the words of a writer, or the visual world of a painter, choreographer, or director, art places demands on both the creator and his audience. It insists that we shift our perceptions from passive to active, that we listen rather than simply hear, and that we search rather than accept.

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  1. April 6th, 2009 | 12:17 pm

    Hi Grace!
    This is my first comment here. I’m struck with one of your comments here: “Of course, it’s not that I don’t actually hear the sound”, but still being surprised by nearby people having to touch you or to jump out of nowhere to get your notice.

    One of the biggest issues I have with my playing involves this. I’m very focused on what I want to play but that doesn’t mean that I’m very focused on what I’m playing. Do you think that aspects of our playing may happen and still go unheard, because “we’re focusing on what we think we’re playing”?

  2. GN:
    April 6th, 2009 | 12:37 pm

    Thanks for your comment Ren - I think there is a very large difference between hearing and listening. I was trying to say that although I may hear something, it doesn’t necessarily mean that I register it in my mind. When we hear things, I believe that it is a very passive process - meaning we can hear sounds, hear what we are playing, but it is possible for it to not truly register, and it does not involve really any effort on our parts. We hear things all the time - voices and sounds outside, background music, traffic noise, etc. Students often say to me that they are “listening” to themselves and focused on what they are producing as they play. I usually tell them that they are “hearing” and not “listening”. Listening involves something active - it means actually searching for a sound, vibration, something beyond the sounds that are already coming to your ears. When we truly listen, I believe it takes away this disparity that people often feel between what they think they’re playing and what is actually being produced because a kind of alignment is created as a result of the heightened level of awareness. Perhaps to “listen” means to not passively take in the sounds that are already being made (whether it’s your playing or any other sounds), but rather to continuously, consciously, and actively search for a sound, a shading, or a nuance that has not been made yet.

  3. April 6th, 2009 | 10:53 pm

    What a quick reply :)
    So there’s a place to explore: listening. But maybe more than that? ‘Active listening’ perhaps? After the mechanics and the overall interpretation of a piece are settled, I try not to listen to what I’m playing, but to listen to what I’m missing. I listen to what I’m leaving outside my playing and then experiment with it, bringing it to my interpretation. Sometimes this means playing different from other people, which creates tension and even a sidelook from the ones who know more, in the audience. Sometimes, thought and feeling make you agree with the regular playing. However, it’s probably the biggest fun of playing: not to repeat endlessly what others have done without considering the best possibility.

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  6. April 20th, 2012 | 8:34 pm

    An fascinating discussion is worth comment. I believe that you should write extra on this subject, it won’t be a taboo topic but typically individuals are not enough to talk on such topics. To the next. Cheers

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