Causal Listening
Causal listening, the most common, consists of listening to a sound in order
to gather information about its cause (or source). When the cause is visible,
sound can provide supplementary information about it; for example, the
sound produced by an enclosed container when you tap it indicates how full it
is. When we cannot see the sound's cause, sound can constitute our principal
source of information about it. An unseen cause might be identified by some
knowledge or logical prognostication; causal listening (which rarely departs
from zero) can elaborate on this knowledge.
We must take care not to overestimate the accuracy and potential of causal
listening, its capacity to furnish sure, precise data solely on the basis of
analyzing sound. In reality, causal listening is not only the most common but
also the most easily influenced and deceptive mode of listening.
Identifying Causes: From the Unique to the General
Causal listening can take place on various levels. In some cases we can
recognize the precise cause: a specific person's voice, the sound produced by
particular unique object. But we rarely recognize a unique source exclusively
on the basis of sound we hear out of context. The human individual is
probably the only cause that can produce a sound, the speaking voice, which
characterizes that individual alone. Different dogs of the same species have
the same bark. Or at least (and for most people it adds up to the same thing)
we are not capable of distinguishing the barking of one bulldog from that of
another bulldog or even a dog of a related breed. Even though dogs seem to
be able to identify their master's voice from among hundreds of voices, it is
quite doubtful that the master, with eyes closed and lacking further
information, could similarly discern the voice of her or his own dog. What
obscures this weakness in our causal listening is that when we're at home
and hear barking in the back room, we can easily deduce that Fido or Rover
is the responsible party.
At the same time, a source we might be closely acquainted with can go
unidentified and unnamed indefinitely. We can listen to a radio announcer
every day without having any idea of her name or physical attributes. Which
by no means prevents us from opening a file on this announcer in our
memory, where vocal and personal details are noted, and where her name
and other traits (hair color, facial features -to which her voice gives us no
clue) remain blank for the time being. For there is a considerable difference
between taking note of the individual's vocal timbre and identifying her,
having a visual image of her and committing it to memory and assigning her
a name.
In another kind of causal listening we do not recognize an individual, or a
unique and particular item, but rather a category of human, mechanical, or
animal cause: an adult man's voice, a motorbike engine, the song of a
meadowlark. Moreover, in still more ambiguous cases far more numerous
than one might think, what we recognize is only the general nature of the
sound's cause. We may say, "That must be something mechanical" (identified
by a certain rhythm, a regularity aptly called "mechanical"); or, "That must
be some animal" or "a human sound." For lack of anything more specific, we
identify indices, particularly temporal ones, which we try to draw upon to
discern the nature of the cause.
Even without identifying the source in the sense of the nature of the causal
object, we can still follow with precision the causal history of the sound itself.
For example, we can trace the evolution of a scraping noise (accelerating,
rapid, slowing down, etc.) and sense changes in pressure, speed, and
amplitude without having any idea of what is scraping against what.
The Source as a Rocket in Stages
Remember that a sound often has not just one source but at east two, three,
even more. Take the sound of the felt? tip pen with which I am writing this
draft. The sound's two main sources are the pen and the paper. But there are
also the hand gestures involved in writing and, further, I who am writing. If
this sound is recorded and listened to on a tape recorder, sound sources will
also include the loudspeaker, the audiotape onto which the sound was
recorded, and so forth.
Let us note that in the cinema, causal listening is constantly manipulated by
the audiovisual contract itself, especially through the phenomenon of
synchresis. Most of the time we are dealing not with the real initial causes of
the sounds, but causes that the film makes us believe in.
Empathetic listening, critical listening, appreciative listening, and empathetic listening are not defined.
Some types of listening that include active listening are:Relational listeningDialogic listeningTherapeutic listeningAppreciative listeningEvaluative listening
The classification of listening refers to categorizing different types or levels of listening skills and behaviors. This can include active listening, empathetic listening, critical listening, and appreciative listening. Each classification highlights specific characteristics and objectives in the listening process.
The four types of listening are:Passive is when you listen to background music/noisesCritical is when you you listen to a political speechPurposeful is when you listen to directions and/ commandsAppreciative is when you listen to plays and/or music
Subskills of listening include active listening, empathetic listening, critical listening, and reflective listening. Active listening involves engaging fully with the speaker; empathetic listening focuses on understanding the speaker's emotions; critical listening involves analyzing the message for accuracy; and reflective listening involves paraphrasing and reflecting back what the speaker has said.
The three types of music listening are casual, active, and analytical listening. Casual listening occurs when music is played in the background while engaging in other activities, requiring minimal attention. Active listening involves focused attention to the music, allowing listeners to appreciate elements like melody and rhythm. Analytical listening goes deeper, where listeners critically analyze and interpret the composition, structure, and emotional content of the music.
more casual, most casual
The five types of listening are active listening, critical listening, empathic listening, appreciative listening, and comprehensive listening.
Empathetic listening, critical listening, appreciative listening, and empathetic listening are not defined.
They are in a casual relationship, it's not serious. I decided to dress casual on Friday.
The opposite of casual is formal.
we had a casual day in the office today. yesterday, we had a free casual day at school.
Some types of listening that include active listening are:Relational listeningDialogic listeningTherapeutic listeningAppreciative listeningEvaluative listening
it means: "that person is casual".
The casual dressing is not allowed in this office.
inactive listening is hearing but really listening to it!
Active listening.