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1

Listening to the past: The place of tradition in theology. Paternoster Press, 2002.

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Listening to Homer: Tradition, narrative, and audience. University of Michigan Press, 2002.

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3

Kassem, Lou. Listen for Rachel. Avon Books, 1992.

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Faithful to the future: Listening to Yves Congar. Bloomsbury T & T Clark, 2013.

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5

Listen for Rachel. Margaret K. McElderry Books, 1986.

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6

Living language and dead reckoning: Navigating oral and written traditions. Ronsdale Press, 2006.

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7

Hunting sacred, everything listens: A Pueblo Indian man's oral tradition legacy. Western Edge Press, 2001.

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8

Bégin, Silvia. Traditional ties: Cultural awareness and listening skills : a radio play. Longman, 1992.

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9

Peate, Wayne F. Listening with your heart: Lessons from Native America. Rio Nuevo Pub., 2003.

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10

Medieval listening and reading: The primary reception of German literature, 800-1300. Cambridge University Press, 1994.

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11

Archaeologies of Listening. University Press of Florida, 2019.

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12

Melamed, Daniel R. Epilogue: How to Listen to Bach. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190881054.003.0007.

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There is, of course, no one way to listen to Bach. People listen in every conceivable manner, and there is no basis for saying that one way is better than any other. But there are ways of listening to Bach that might not have occurred to you, including those that take eighteenth-century musical sensibilities into account or that recognize the consequences of our place as listeners in the twenty-first century and as inheritors of a long performing tradition. The aim of this book has been to suggest and encourage those ways of listening....
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13

Gallagher, Edmon L., and John D. Meade. Selected Greek, Syriac, Latin, and Hebrew Manuscripts. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198792499.003.0006.

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In this chapter, we contextualize the data of the canon lists further by listing the contents of significant manuscripts in the Greek, Syriac, Latin, and Hebrew traditions. These manuscripts help the reader further understand the problems raised by the lists themselves. For example, a typical canon list will only mention ‘Daniel’, but the manuscripts clarify that under this title were also included the books of Susanna and Bel and the Dragon. When the lists and the manuscripts are read and analysed together, the reader can further conceptualize the contents of the canon. Furthermore, a codex t
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14

Holmes, Stephen R. Listening to the Past: The Place of Tradition in Theology. Baker Academic, 2003.

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15

Morrison, Fr M. E. Official Traditional Catholic Directory: Listing All Traditional Latin Masses and Traditional Resources for the United States and Canada. iUniverse, Inc., 2005.

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Dillon, Emma. Song and the Soundscape of Old French Romance. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198795148.003.0009.

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This chapter examines the presence of song and sound in romance, with a particular focus on the traditions of Old French romance from its incarnation in the 1170s, in the works of Chrétien de Troyes, to the earliest examples of romances interpolated with song (romans à chansons) which date from the first decades of the thirteenth century. Romance’s emergence coincided with a period of extraordinary creativity in the realm of vernacular song, most notably with the emergence of a northern lyric tradition of the trouvères, with the continued cultivation of their Occitan inspiration in the lyrics
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17

Prentice Hall: Listening to Music- The British Tradition. Prentice Hall, 2006.

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18

The Listening Ears(in Traditional Chinese Character). Heliopolis Culture Group, 2003.

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19

Wesley, Nathaniel. 1986 Black Hospitals Listing and Selected Commentary: Tradition, Competition, and the Management of Change. Howard Univ Pr, 1986.

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20

Kassem, Lou. Listen for Rachel. Flare, 1996.

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21

Hunting Sacred: Everything Listens : A Pueblo Indian Man's Oral Tradition Legacy. Western Edge Press, 2001.

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22

Littlebird, Larry. Hunting Sacred, Everything Listens: A Pueblo Indian Man's Oral Tradition Legacy. Western Edge Press, 2001.

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23

D, Harvey John. Listening to the text: Oral patterning in Paul's letters. 1997.

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24

Making Connections: Enhance Your Listening Comprehension in Chinese (Traditional Character Edition). Cheng & Tsui, 2002.

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25

Melamed, Daniel R. Listening to Bach. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190881054.001.0001.

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Modern audiences can learn to listen to Johann Sebastian Bach’s Mass in B Minor BWV 232 and Christmas Oratorio BWV 248 in ways that reflect eighteenth-century sensibilities and that recognize our place in the tradition of the works’ performance and interpretation. The sacred music of Bach’s time recognized both old and new styles. In the Mass in B Minor, Bach contrasts, combines, and reconciles them to make a musical point. Listeners can also learn to hear musical types and musical topics that were significant in the eighteenth century, including sleep arias, love duets, and secular choral ari
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26

Ahmedaja, Ardian. European Voices II: Cultural Listening and Local Discourse in Multipart Singing Traditions in Europe. Böhlau, 2011.

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27

Ziemer, Hansjakob. The Crisis of Listening in Interwar Germany. Edited by Christian Thorau and Hansjakob Ziemer. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190466961.013.13.

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This chapter analyzes why concert reformers in interwar Germany associated practices of listening with the notion of crisis and how this notion was affected by political, social, and economic changes. It also asks whether this period was, indeed, a watershed in the history of music listening. Starting with Adorno’s various descriptions of listening in crisis, the chapter traces the discourses and practices of listening in his hometown of Frankfurt am Main in order to show how manifest and perceived notions of crisis were used to legitimize traditions of listening and to invent strategies to co
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28

Skoulding, Zoë. Poetry & Listening. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789621792.001.0001.

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Listening has always mattered in poetry, but how does poetry change when listening has been transformed? In Poetry and Listening: The Noise of Lyric, the field of sound studies, which has revolutionised research in contemporary music, is brought into dialogue with new lyric criticism. Examining poetry as mediated by performance, technology and translation, this book discovers how contemporary poetry has been re-energised by the influence of recorded sound and influenced by the creative methods that emerged with it. It offers an exploration of contemporary poetry’s acoustic contexts, moving bey
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29

Lysaker, John T. Between Hearing and Listening. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190497293.003.0006.

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Chapter 5 treats Music for Airports as a work of conceptual art and compares it to the work of Steve Reich, arguing that the album, like Eno’s visual art, provides a sonic image of the ecological character of human activity and meaning. The chapter also tracks how the album’s ambient function changes when it is reproduced through differing technologies, and how it becomes an entirely different kind of artwork when scored for and performed on traditional instruments by Bang on a Can. Because the album proves to have three distinct dimensions, it requires “prismatic listening.” Prismatic listeni
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30

Lenhardt, Pierre. Unity of the Trinity: Listening to the Tradition of Israel in the Church. ATF Press, 2019.

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31

Lenhardt, Pierre. Unity of the Trinity: Listening to the Tradition of Israel in the Church. ATF Press, 2019.

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32

Melamed, Daniel R. Listening to the Christmas Oratorio with a Calendar. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190881054.003.0005.

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Johann Sebastian Bach’s Christmas Oratorio has six parts that Bach performed on six days from Christmas to Epiphany. We usually experience it as a unified work, and Bach considered it one, but in some ways, its designation as a single oratorio was more conceptual than real. Our best tool for understanding the Oratorio’s original context might be a calendar. The work’s place in the church year helps us understand its construction and scoring, stimulates our thinking about the independence of its parts, and aids in examining the musical elements that make it a unified work. Despite modern attemp
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33

Bashford, Christina. Concert Listening the British Way? Edited by Christian Thorau and Hansjakob Ziemer. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190466961.013.8.

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It is a well-known fact that the provision of printed program notes at concerts of classical music was a nineteenth-century phenomenon aimed at guiding listener experiences. This chapter discusses why those notes first proliferated in Britain and whether there was anything peculiarly British about them. Program notes took root in 1840s Britain, initially at highly serious chamber concerts. They explained the formal structure by aural sign-postings and embodied a significant attempt to shape listening practices in Victorian Britain in a distinctive way. Underpinning their successful spread were
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34

1943-, Bell Diane, ed. Listen to Ngarrindjeri women speaking =: Kungun Ngarrindjeri miminar yunnan. Spinifex Press, 2008.

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35

Flying In The Face Of Tradition Listening To The Lived Experience Of The Faithful. ACTA Publications, 2012.

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36

Thompson, Ayanna. (How) Should We Listen to Audiences? Edited by James C. Bulman. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199687169.013.33.

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How do scholars and practitioners know what audiences think about non-traditionally cast productions of Shakespeare? Non-traditional casting—the practice of casting actors of colour in roles originally imagined as white characters performed by white actors—is a common phenomenon on British and American stages, especially in contemporary productions of classical plays. Nonetheless, very little research has been conducted on the effects of perceptions of race in/as performance on classical stages. This chapter asks a series of theoretical and methodological questions about the intersection of re
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37

Bickford, Tyler. Inappropriate and Inarticulate. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190654146.003.0006.

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This chapter examines how interactions using music devices are part of a Ȝchildishȝ expressive tradition that is engaged primarily with the bureaucratic organization of language and communication in school. Music listening, despite being wordless, is an important part of children’s intimate expressive repertoires. I propose understanding these modes of music listening through reference to two master tropes of intimate peer expression in school: inappropriateness and inarticulateness. I consider several examples where music listening practices make clear reference to the bureaucratic context of
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38

Afghanistan, ActionAid, ed. Listening to communities: A study on traditional disaster risk reduction activities in Northern Afghanistan. ActionAid Afghanistan, 2008.

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39

Green, Dennis Howard. Medieval Listening and Reading: The Primary Reception of German Literature 8001300. Cambridge University Press, 2005.

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40

Conan, Doyle Arthur. Listen & Read Sherlock Holmes Stories (Listen & Read). Dover Publications, 1997.

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41

Wolterstorff, Nicholas. Does God know what we say to God? Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198805380.003.0012.

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When Christians address God in the course of enacting some liturgy, they take for granted that God can listen to what they say to God—that is, that God can grasp what they say. This chapter addresses the question whether the claim that God can listen is compatible with a central component of traditional philosophical theology, namely, that God is a se. Of all the classical theologians, it was Aquinas who worked hardest at explaining how God’s aseity is compatible with God’s knowledge of “singulars.” After an extended discussion of Aquinas’s proposal, the conclusion is drawn that the doctrine o
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42

Music Listening CD 1 for the Humanistic Tradition for Use with Volume I or Books 13. McGraw-Hill Humanities/Social Sciences/Langua, 2010.

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43

Prentice-Hall Literature: Timeless Voices, Timeless Themes: The British Tradition: Book on Tape (Listening to Literature). Prentice-Hall, 2000.

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44

Yu, Guangzhong. Listening to the Cold Rain ('Ting ting na leng yu', in traditional Chinese, NOT in English). Jiu Ge, 2002.

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45

Lysaker, John T. A First Listen, or Through a Glass Lightly. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190497293.003.0002.

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Chapter 1: Chapter 1 argues that Music for Airports organizes the activity of sounds outside of traditional musical orders. Because it avoids phenomena like keys, rhythm, or harmonic relation, it requires fresh ears. Exercises in “close listening” then follow, attending to each of the album’s four tracks. Because the sounds relate to each other in a free, juxtaposed manner, each track has the feel of a painting. But their temporal dimension shows the limit of that analogy. As each track is interpreted, so too are the odd scores that adorn the back of Eno’s album. Because they do not provide in
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46

Cohen, David Bennett. David Bennett Cohen Teaches Blues Piano: A Hands-On Course in Traditional Blues Piano (Listen & Learn). Hal Leonard Publishing Corporation, 1997.

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47

Jorritsma, Marie. Hidden Histories of Religious Music in a South African Coloured Community. Edited by Jonathan Dueck and Suzel Ana Reily. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199859993.013.13.

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This chapter explores persistent traces of both indigenous and Euro-colonial music traditions in the church music of South African coloured people (a group of mixed racial heritage that was marginalized and oppressed by the apartheid regime). The author characterizes these persistent historical traces in coloured people’s performance style as “hidden transcripts” (following James Scott). Through the powerful historiographic tool of ethnomusicological listening, this chapter points to colonial as well as “African” traces surviving in contemporary musics and locates both encounter and resistance
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48

Steinberg, Marc I. An Evolutionary Process—The Federalization of Corporate Governance. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199934546.003.0001.

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This chapter provides an overview regarding the federalization of corporate governance as an evolutionary process. From this perspective, the chapter examines both state and federal law that impact corporate governance. As the chapter explains, from a historical perspective, the states emerged as the primary regulator of corporate governance. Today, Delaware has emerged as the preeminent state where publicly-held corporations elect to incorporate. Nonetheless, federal law, even from a traditional perspective, impacted corporate governance, such as the SEC’s shareholder proposal rule adopted ov
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49

Cruikshank, Julie. Do Glaciers Listen?: Local Knowledge, Colonial Encounters, and Social Imagination. University of British Columbia Press, 2006.

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50

Lysaker, John T. Brian Eno's Ambient 1: Music for Airports. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190497293.001.0001.

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This study situates Eno’s ambient masterpiece, Music For Airports, within various avant-garde trends in order to underscore its multiple dimensions. In the manner of Satie, it aims to tint living situations without demanding that listeners give the album their full attention. In the manner of Cage, and with La Monte Young’s feel for the textures of individual tones, it arranges the activity of sounds outside traditional Euro-American musical conventions, and in a manner that can spark a kind of thoughtful reverie, thus bringing art into vital, possibly transformative contact with everyday life
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