A Quote by Krzysztof Penderecki
Listen to the triple fugue in 'Magnificat' - the first subject is seven voices, the second one has 52 different voices, the third uses five; then I combine all together. Such textures you cannot call primitive.
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For its part, Government will listen. We will strive to listen in new ways - to the voices of quiet anguish, to voices that speak without words, the voices of the heart, to the injured voices, and the anxious voices, and the voices that have despaired of being heard.
When you listen to my music, you hear that there are all these voices going on in different parts of the song. That's because I was always around so many voices in church.
My first two books, I was very close to my main character, stuck inside their head. And then with 'Arrogance,' I broke into many different voices. I introduce many different characters, and that helped me to develop a confidence to move between different characters, between different voices.
I now understand what Nelle Morton meant when she said that one of the great tasks in our time is to "hear people to speech." Behind their fearful silence, our students want to find their voices, speak their voices, have their voices heard. A good teacher is one who can listen to those voices even before they are spoken-so that someday they can speak with truth and confidence.
There's a lot of magic in voices. I love voices that are very old, very gravelly, very deep. I like metallic voices; I like velvety voices. The voices of children.
As I saw my 60th birthday approaching, I thought,What did 60 mean to me? I figured I'd probably live until I'm about 90, which meant that I was at the beginning of what I call my third act. As an actress, I know how important the third act is. It makes sense of the first and second acts. You can have first and second acts that are interesting, but you don't know what they mean. Then a good third act pulls it all together. And so I knew that, because I sat by my father's side over the long months when he was dying.
Those voices telling you that it's all wrong, and you should be louder or softer or more fashionable or marketable? Those are the bad voices. The only guide you can afford to listen to is the obsessive, lovestruck thing inside you that keeps insisting it finds some particular subject utterly fascinating. Do not shame this part of yourself. Take it by the hand and lead it to safety.
In a thousand voices singing the Hallelujah Chorus in Handel's "Messiah," it is possible to distinguish the leading voices, but the differences of training and cultivation between them and the voices in the chorus, are lost in the unity of purpose and in the fact that they are all human voices lifted by a high motive.
In this age of censorship, I mourn the loss of books that will never be written, I mourn the voices that will be silenced-writers' voices, teachers' voices, students' voices-and all because of fear.
Don't listen to voices. If you hear voices talking to you, forget it. Disregard the information, even if it is right occasionally. You are dealing with non-physical forces that are trying to influence you.
The element of change has been the thing, really. We put out the first one, then the second... then a third LP totally different from them. It's the reason we were able to keep it together.
Particularly in television, we can stereotype ourselves. You realize that we all have a lot of voices in our head. We have angry voices, we have voices of doubt, and we have moments of strength.
We cannot silence the voices that we do not like hearing. We can, however, do everything in our power to make certain that other voices are heard.
I tried to listen to way too many voices in my first stint as a head coach. The second time around, I know what I want and how I want to do it.
The history of knowledge is a great fugue in which the voices of the nations one after the other emerge.
Increasingly I think of poetry as a theatre of voices, not as coming from a single "I" or from any one position. I want to imagine voices different from my own.
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