Hearing

SOUND EXERCISES
 Judging Direction of Sounds You need to be blindfolded; Sit In a chair in the middle of a large room. Block one ear with a hand or an, earplug. Now get a friend to move about quietly making sharp sounds in different parts of the room. Repeat the experiment with both ears open. Which directions are the hardest to be sure of? Make a chart and check the response several times in each position.

If your sense of direction with two ears open is not excellent repeat this as an exercise at regular intervals.

 Ambient Sound Meditation

a. How many sounds can you hear? Count them. Distinguish for each sound - direction and cause.... differences in tone and strength... rhythmic qualities... groupings. For this exercise and each of the following developments it is suggested that you repeat it for ten days (with rest) and then note any improvements. It is essential to work gradually and methodically, or little useful progress will be achieved.

b. Select one of the most obvious sounds and list everything you can imaginably say about it. In repeating select a new sound.

c. Detect one of the faintest sounds you are hearing. List everything you can say about it.

d. Select a pleasant sound you are hearing. Note every reason why you feel it is pleasant.

 Tape Cassette Tape record yourself doing some activity. (a) be conscious of the tape recording sound. Or (b) forget the tape is on (put the cassette machine in a drawer). Play the tape back to yourself whilst you are doing some other activity. Examples.


 * i. Record yourself having breakfast. Playback whilst watching .'Match of the Day'


 * ii. Record yourself washing up Playback whilst having a bath.


 * iii: Record having a bath. Playback whilst waiting for a bus.

Don't take an excessive interest in listening. Playback unobtrusively. Keep one of the early tapes that you like; Repeat the exercise at least twice a week alternating a & b. After 6 months compare a tape you like with the early tape.

 Mimicry  In front of a television, radio and/or tape deck, tune in to something of interest and practice mimicing whatever catches your fancy. Concentrate on phrases that seem to epitomise the character of that particular sound to which you are listening. Phrases that recur in the course of the programme. Repeat these over and over to yourself making minute changes until you are able to reproduce the sound with uncanny authenticity. More particularly... purchase a record of common bird sounds and learn to mimic some of them. In this way not only will you recognise birds by their sounds but you will also be able to lend your neck of the urban wasteland a quaint pastoral flavour.

 Focusing on One Sound Amongst Many

Collect together three radios and a clock. Put them all on at equal volume and different programmes. Shut eyes and listen attentively to one programme only for a timed one minute. Switch attention to another programme for one minute. Every minute switch your attention. It doesn't matter how interested you become (within reason) At the end of the time... switch.

If you find this too difficult move the radios apart and sit facing the one you are paying attention to. If you find this too easy add more radios.

Do this from six to ten minutes daily for ten days with rest.

 exercise Musical Ear Training

Basic Programme

1. We must first learn to 'perceptually isolate' (identify) a note without being confused by its overtones (harmonics). To make the predominant pitch of a musical note into a concrete (muscular) experience for the brain to handle, learn to imitate notes played on a variety of common instruments. The memory and discernment of different notes is reinforced by their vocal expression. The variety of instruments ensures that the pitch of a note is not confused with other parts of the total harmonic package (the 'overtones' which give different tonal qualities to each type of instrument).

2. The second job of appreciation is then to be able to clearly perceive the pitch of a musical sound and compare it with another to judge which is the higher. This should be gradually continued until, the 12 equal divisions of the octave (i.e. semi-tones) are clearly distinguishable. Two notes are played one after the other. Sing them and identify which is higher.

3. The next step is to distinguish the interval between notes. Two notes are played one after the other. Sing them and name the interval. (i.e. how many notes apart are they?) Start with the easier intervals... second and octave, then third and fifth, then fourth, sixth and seventh. Note consonant intervals, and the intervals that produce dissonance. lt is conventionally useful at this point to learn to name notes by their code letters and to know their position on the five line stave.

4. Then we come on to groups of notes.


 * a. Get someone to playa few notes simultaneously. How many notes has it? Learn to distinguish between two and three note chords (above three notes becomes difficult)


 * b. A chord is followed by its lowest note. Identify the other notes by singing or naming them.


 * c. Distinguish between chord inversions. Root position, first inversion, and second inversion of the tria~ a common major chord. ie.1st, 2nd, 3rd, 5th 1st tonic; 5th 1st tonic 3rd.

see diagram.


 * d. Differentiate between major and minor triads of a common chord. see diagram

5. Listen carefully to some simple short melody, played on a piano or organ. Then try to reconstruct the melody from memory. At first you will only remember, perhaps, a few notes. Don't be discouraged, build up from whatever scrap: you can remember. When you are able to reconstruct simple melodies you may wish to increase, step by step, thE complexity of your text.


 * NOTE: For those who do not possess or have access to a piano or similar instrument. Take a tape cassette recorder to the nearest available piano and record relationships as indicated in the text above leave a space after each example and then after fifteen or twenty seconds say what the relationship is in words. Do not memorise what you are doing. later playback tape and see if you can guess correct answer. Tape should be quite long if it is to be used more than once as it will be memorised very quickly.

 exercise Social Listening

There is a psycho-social aspect to listening when it is another person that you are listening to. The manner in which we listen is an important component of human caring. I include an exercise on such social listening to emphasise this important connection. Creative listening can turn a dull anecdote into a fascinating story. It can bring out the beauty of someone who at first appearance seems dull and lifeless.

Checklist


 * 1. Decide that listening is going to be your main activity. Your argumentative faculties go into suspended animation. Full expression is what is important for the time being not the contention of rational truth.


 * 2. Without making a cross-examination ask for the elaboration of every detail.


 * 3. The person may insist on giving a short version of their story at first. Ask them to retell it eliciting full details and descriptions.


 * 4. Listen with the motive that listening is good caring. Your own curiosity may interfere with the persons own direction. Make it clear that you are listening because you care about the person speaking rather than for any reasons relating solely to your own interest in the subject matter.


 * 5. Prepare yourself beforehand to be ready for anything. Do not let yourself react in a shocked or judgemental manner by unexpected disclosures. This type of attentive listening is powerful, be prepared. Calm, alert and fearless attention is what is required... keep listening. Don't let your facial expression pass judgement.


 * 6. Be prepared for laughing, crying, trembling, yawning, scratching. If they come up as a reflex response to what the person is talking about they should be encouraged as natural releases of pent up emotion. Be pleased at any such response and do not offer any oozing sympathy or other distraction.


 * 7. Don't associate from what people say. Almost anything anybody says could remind you of some experience of your own... for the moment, keep it to yourself. Their story, however similar to your own experience it appears, is unique and special.


 * 8. lf someone is asking for suggestions get them to think for themselves. Only make suggestions, solve problems, think of improvements etc as a last resort.


 * 9. Be receptive to the person... rather than the story.