LEADER 04573nam 22005894a 450 001 9910449783203321 005 20200520144314.0 010 $a1-4175-2421-9 035 $a(CKB)1000000000001145 035 $a(EBL)3116954 035 $a(SSID)ssj0000116251 035 $a(PQKBManifestationID)11131371 035 $a(PQKBTitleCode)TC0000116251 035 $a(PQKBWorkID)10032397 035 $a(PQKB)10938175 035 $a(MiAaPQ)EBC3116954 035 $a(Au-PeEL)EBL3116954 035 $a(CaPaEBR)ebr10058834 035 $a(OCoLC)922967045 035 $a(EXLCZ)991000000000001145 100 $a20001127d2001 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 14$aThe business of listening$b[electronic resource] $ea practical guide to effective listening /$fDiana Bonet 205 $a3rd ed. 210 $aMenlo Park, Calif. $cCrisp Learning$dc2001 215 $a1 online resource (110 p.) 225 1 $aA Fifty-Minute series book 300 $aDescription based upon print version of record. 311 $a1-56052-590-8 320 $aIncludes bibliographical references (p. 102). 327 $a""Title""; ""Copyright""; ""About the Author""; ""Preface""; ""Contents""; ""PART 1 Why Should You Listen?""; ""Whata???s in It for You?""; ""Listening-related work activities""; ""Whata???s in It for Your Organization?""; ""Asleep at the Switch: The Cost of Lazy Listening""; ""The Joy of Small Change""; ""PART 2 Four Key Elements of Good Listening""; ""How to Be a Good Listener""; ""Four Key Elements""; ""Key Element 1: Hear the Message""; ""Listening Is Voluntary""; ""Three Keys to Hearing the Message""; ""Key Element 2: Interpret the Message""; ""Words""; ""Filters""; ""Tone of Voice"" 327 $a""Non-verbal Cues""""Key Element 3: Evaluate the Message""; ""Key Element 4: Respond to the Message""; ""Review Lab For Key Elements 1a???4""; ""PART 3 Your Listening Style""; ""You Are Unique""; ""The Promoting Style""; ""The Good Stuff:""; ""The Downside:""; ""TIPS FOR BETTER LISTENING:""; ""What Gets a Promotera???s Attention?""; ""The Supporting Style""; ""The Good Stuff:""; ""The Downside:""; ""TIPS FOR BETTER LISTENING:""; ""What Gets a Supportera???s Attention?""; ""The Directive Style""; ""The Good Stuff:""; ""The Downside:""; ""TIPS FOR BETTER LISTENING:"" 327 $a""What Gets a Directora???s Attention?""""The Analytical Style""; ""The Good Stuff:""; ""The Downside:""; ""TIPS FOR BETTER LISTENING:""; ""What Gets an Analyzera???s Attention?""; ""PART 4 Whata???s Your Listening Attitude?""; ""A Listening Attitude: Your Key to Success""; ""Barriers to Communication""; ""Bridges to Communication""; ""How Well Do You Listen?""; ""How to Stomp Bad Listening Habits""; ""Catch yourself in the act""; ""Fight the habit""; ""Substitute the old habit for a new habit""; ""Acknowledge your success""; ""Be patient with yourself""; ""How to Help Someone Listen to You"" 327 $a""Behaviors That Help People Listen""""PART 5 Ten Tips for Tip-Top Listening""; ""Listening Louder""; ""Tip 1: Take Notes""; ""Tip 2: Listen Now, Report Later""; ""Tip 3: Want to Listen""; ""Tip 4: Be Present""; ""Tip 5: Anticipate Excellence""; ""Tip 6: Become a a???Whole Bodya??? Listener""; ""Tip 7: Build Rapport by Pacing the Speaker""; ""Tip 8: Control Your Emotional a???Hot-buttonsa???""; ""Tip 9: Control Distractions""; ""Tip 10: Listening Is a Gift, Give Generously""; ""SUMMARY""; ""Points to Remember""; ""Part 1: Why Should You Listen?""; ""Part 2: How to Be a Good Listener"" 327 $a""Part 3: Your Listening Style""""Part 4: Your Listening Attitudea???A Barrier or a Bridge?""; ""Part 5: Ten Tips for Tip-Top Listening""; ""Develop a Personal Action Plan""; ""Authora???s Suggested Answers and Comments""; ""The Benefits of Listening""; ""What Do You Know About Listening? (page 8)""; ""Listening Lab: Hearing the Message (page 18)""; ""Vacant Vincent (page 50)""; ""Critical Carrie (page 51)""; ""Complaint Curtis (page 52)""; ""Arlo Active (page 53)""; ""Lisette Listener (page 54)""; ""Additional Reading"" 410 0$aFifty-Minute series. 606 $aListening 608 $aElectronic books. 615 0$aListening. 676 $a153.6/8 700 $aRomero$b Diana Bonet$f1942-$0865706 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910449783203321 996 $aThe business of listening$91931997 997 $aUNINA LEADER 03019oam 2200385 u 450 001 9910987790303321 005 20230427143035.0 024 7 $a10.33063/5n26f841 035 $a(NjHacI)998359375503831 035 $a(CKB)8359375503831 035 $a(EXLCZ)998359375503831 100 $a20230427d2023 uy 0 101 0 $aswe 135 $aur||||||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aMusiken i Uppsala under stormaktstiden $ebidrag till dess historia grundade på en arkivinventering$h2$i1660-1730$hDel A /$fJan Olof Rudén 210 $aUppsala $cActa Universitatis Upsaliensis$d2023 210 1$aUppsala :$cActa Universitatis Upsaliensis,$d2023. 215 $a379 s 225 1 $aStudia musicologica Upsaliensia. Nova series,$x0081-6744 ;$v33:1 311 08$a9789151316758 330 $aThe purpose of the present volume is to complete Bengt Kyhlberg's thesis Musik i Uppsala under stormaktstiden, 1974 (Music at Uppsala during the Swedish great power period, part 1) using the already finished material he wrote with a view to publish it as part 2 for the university jubilee in 1977, something he did not fulfill. I have taken advantage of his systematized inventories of musical notices available in the Musik- och teaterbiblioteket, Stockholm (Music and theatre library) in the "collection Bengt Kyhlberg". Several biographies of organists, organ builders and students and the chapter on the construction of the big organ in the cathedral were already finished and have been marked with BK to distinguish Bengt Kyhlberg as the author. I have chosen to emphasize the affinity between Part 1 and Part 2 by continuing the various chapters with their subdivisions. At the same time, Part 2 should be able to stand on its own two feet, which is why the reader receives a brief recapitulation in each section. Part 1 had the dual purpose of showing that the inventory of archives functions as a musicological method and to use the extracted information about music to account for the music in Uppsala until 1660. The method gained recognition and it has since been utilized by other researchers. Due to the fact that the archives related to Uppsala from 1660 onwards are becoming more extensive and complete, the account in Part 2 stands on a firmer ground and becomes more detailed. The number of biographies of music-active persons in Part 1 are 220, while in Part 2 they are 590, of which the most prominent people require a lot of space. It has therefore been found appropriate to assemble the biographies in their own volume. 410 0$aStudia musicologica Upsaliensia. Nova series,$x0081-6744 ;$v33:1. 606 $aMusic appreciation 615 0$aMusic appreciation. 676 $a780.15 700 $aRuden$b Jan Olof$01850784 801 0$bNjHacI 801 1$bNjHacl 912 $a9910987790303321 996 $aMusiken i Uppsala under stormaktstiden$94443983 997 $aUNINA 999 $9Jönköping University