AAS May 25, 2014 Listening Improves Humanity

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Palaima: Better listening improves humanity

Posted: 6:00 p.m. Saturday, May 24, 2014
Austin American-Statesman print edition Sunday May 25, 2014

By Tom Palaima – Regular Contributor

A few years ago, several veteran Austin guitar-playing musician friends — John Inmon, Derek O’Brien, Denny Freeman, Richard Jessee — took time to talk with my son about what their lives devoted to playing music were like, where their inspiration and passion for music came from, what difficulties they faced and still face.

What stays with me was how well these masters of soul-inspiring guitar sounds listened to what a 16-year-old fledgling musician had to say.

True attentive listening is a vanishing skill and underdeveloped talent. We all want to be heard. Yet it is the capacity to hear sympathetically that makes us truly human. The words we share in our native languages, the specific meanings we give words within our families and social groups, the feeling of outsiderness we have when we cannot understand what others are saying, all define who we are in our connections with or disconnections from other human beings.

Inmon posed a conundrum that applies not just to playing music, but to all other forms of human communication. He said: “When you are playing the guitar you are just sending out vibrations that travel through the air. They don’t mean anything until they reach the ears of the people who are listening. Figure out how to get what the song means to you across to your audience.”

What a wonderful concept. Applied to nonmusical communication, it asks that we do one simple thing: listen before or while we speak so that we can best express what we mean to others.

How is listening, especially John’s kind of pre-listening or imaginative listening to what others will be hearing, important? Without it, we lose contact with others and with ourselves, we become less able to help others and ourselves.

A few weeks ago, I visited the Freud Museum in Vienna and stood in front of the famous couch upon which Freud’s patients reclined and the famous chair where Freud sat, behind his patients. What he was practicing was called “the talking cure,” but it depended on patients knowing that a sympathetic, if invisible, listener was taking in what they were saying.

Psychoanalysis is now a multi-faceted science, but the art of sympathetic listening was known to Homer. Achilles, when in his deepest suffering from the public insult to his core self as a dedicated field commander, talks at length to his mother, Thetis. She listens with maternal care. Later when his closest comrade Patroclus is killed, Achilles unburdens himself to Thetis again about his sorrow and his guilt. He later speaks with Priam, king of Troy, who appeals to Achilles to return the body of his son Hector, whom Achilles had killed. Achilles in his anger and grief had tried to mutilate Hector’s corpse. Listening to Priam’s words, Achilles remembers his own father and becomes fully human once more.

Walt Whitman in his famous commentary on the abysmal medical care given the wounded well into our Civil War, “The Great Army of the Sick,” cites the case of J.A.H., “a young man from Plymouth Country, Massachusetts,” “prostrated by diarrhea and vomiting” and virtually catatonic because “no one spoke to him” or did so “with perfect indifference” or “heartless brutality.” Whitman “sat down by him without any fuss — talked a little — soon saw that it did him good — led him to talk a little himself.” By humanly listening, Whitman pulled J.A.H. from the brink of death from a despondency caused by nobody caring to listen.

Unfortunately, in our society the reward structures in many professions promote single-minded self-expression. A just-completed senior honors thesis at the University of Texas at Austin by Bethany Hamilton that Stephen Sonnenberg and I supervised looks at UT students who are military veterans. We need to listen to opinions like those Hamilton gathered from veterans. One was that veteran students would rather be at Austin Community College than at UT because the professors at ACC take time to listen when veteran students talk about their special needs.

This problem doesn’t apply only to veterans. UT has long had dauntingly high student to faculty ratios. And faculty members know that, except for award-winning performers in the classrooms, devoting time to research and publications is the one sure way to be among the chosen half of the faculty who now receive annual small merit raises.

The art of listening needs a public hearing, and we all need to lend our ears.

Palaima is Armstrong Centennial Professor of Classics at the University of Texas at Austin.

Palaima Article on kosmos in Mycenaean palatial culture

—“Kosmos in the Mycenaean Texts: The Response of Mycenaean ‘Scribes’ to the Culture of Kosmos,” M.-L. Nosch and R. Laffineur eds., Kosmos: Jewellery, Adornment and Textile in the Aegean Bronze Age (Aegaeum 33, Leuven – Liège 2012) 697-703 + figures CLIX-CLX.

In this article I discuss the significance of the etymology of the word ‘kosmos’ and the importance of the principle of ‘order’ in Mycenaean palatial culture as understood in the organizational system worked out by the palatial centers and structures, in the aesthetics of the ‘order’ of palatial architecture, and in the texts of the Mycenaean scribes. The very process of recording information was an imposition of order. We discuss passages from Homer and Hesiod and make reference to Continue reading

Songs of Hard Travelers from Homer to Bob Dylan (and Dionysis Savvopoulos)

T. Palaima, “Songs of the ‘Hard Traveler’ from Odysseus to the Never-Ending Tourist,” Modern Greek Studies Yearbook 26/27 (2010/11) 189-206.

This article studies themes connected with traveling and existing away from home from the Iliad and Odyssey of Homer through the modern folk song tradition as performed and transformed by Bob Dylan, including songs by the Stanley Brothers, Charley Patton, Skip James, Muddy Waters, Stephen F. Foster, Martin Carthy and Dionysis Savvopoulos.

Access article here:
Songs of the ‘Hard Traveler’ from Odysseus to the Never-Ending Tourist

May 16, 2010

Bob Dylan – Our Homer
Recording Date 2010-05-05

Description

This is a studio version of the lecture and the music for the Poetry on the Plaza presentation that I gave on March 1, 2006 at the Humanities Research Center (HRC = Harry Ransom Center, too). It had the title “Bob Dylan: Our Homer”.

I discussed and illustrated in recordings, as I repeat here with clear audio, the art of Bob Dylan as an oral poet and songster.

This covers his career from the very early 1960’s until 2006.

Dylan and his music are parts of a rich tradition going back to Homer and in the modern period reaching back to the 17th century in folk ballads.

Here I selectively play and discuss mainly live concert recordings and the recordings of singers (Martin Carthy, Charlie Patton, the Stanley Brothers, all the way to Warren Zevon) who inspired Dylan’s own songs or were singled out by Dylan himself in his concerts as special.

I hope you enjoy these masterworks and my commentary on them.

On December 1, 2010, I will give a second Poetry on the Plaza on Bob Dylan.

The topic will be “Harmonica Bob: The Ineffable Poetry of Bob Dylan.”

In it, I will discuss Dylan’s use of harmonica (an instrument that is very important in folk and blues traditions) in order to express meanings and feelings that cannot be said or to emphasize or create a tone for what has been said in sung words.

 


Dylan Song Poems 1963 through 2009
Recording Date 2010-05-14
Description

Bob Dylan has been ‘accused’ of abandoning concerns about the ills and problems of society when he made the shift around 1965 from the traditional folk music scene to writing and performing his own at times deeply personal music.

There is also a controversy over whether Dylan’s lyrics can stand alone on their own as poetry.

Here I read the lyrics of selected Dylan songs from 1963 right up to the present. I provide minimal commentary aimed a contextualizing more than advancing any arguments.

These song poems include: “Ballad of Hollis Brown,” “I Dreamed I Saw St. Augustine,” “Señor,” “Blind Willie McTell,” “Foot of Pride,” “What Was It You Wanted,” “Love Henry,” “Not Dark Yet,” “Mississippi,” “Ain’t Talkin’,” and “Forgetful Heart.”

All of them reflect Dylan’s continuing and keen interest in the human condition, the human spirit and the human heart.

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My thanks to Michael Heidenreich and the UT Austin College of Liberal Arts Instructional Technology Services for producing these audio files in connection with my honors seminars on war and violence and on the history of song as social commentary.