You have to do a lot of listening, you don't just learn out of yourself.

So, first you have to be able to play with a metronome. Then you take your freedom. If you play in an orchestra, you got to watch the conductor, he is like a metronome, but it is more difficult because he can change rhythms.

Of course the most difficult thing on the violin is always intonation. The second one is rhythm. If you play in tune, in time with a good sound that's already high level. Those three are the main things.

A good interpreter can take a piece of bad music and make it sound pretty decent, while a bad interpreter can take good music and make it sound cheap. I can tell that some people have a bad taste, and unlike on the piano, they smear around a lot, that is bad taste.

Well, rhythm is 90 percent of the interpretation.

When you can hear a violinist, that is better than you, then you learn from him, because if you play with somebody who is worse than you, then you go down.

A specialist is someone who does everything else worse.

You have to do a lot of listening, you don't just learn out of yourself.

I don't have favourites, I think, when you play, you have to be like a prostitute, you have to love the piece you are playing. Even if you don't like it, you have to play it as if you would like it. Then you are a good interpreter.

Colour does not make so much difference. Look at the Bach Chaconne: There is not one dynamic mark in the whole Bach Chaconne. Colours do not make so much difference.

Every violinist has a different style, so it's important to be able to recognise their styles. You don't have to like everyone's style but you have to know these styles.

It would be easier to say, what was the difference in style from many years ago. Many years ago, the old violinists, they also had a good technique, they were not tonally as good.

My romantically favorite era is 78, 79 listening to Grandmaster Flash and the Furious 4, the live tapes, echo chamber and break beats.

So our ears got used to listening to jazz in the place that it was that the bass player could not play. No one really realized it and really addressed it until the bass players who could play their instrument came along and started doing something with it.

I love listening to Radio Head's 'Everything in its Right Place' because it's all major chords, it makes you feel really good. It's soothing, it's got a beautiful voice, crazy textures. When I'm down I listen to that song and it really makes me feel good.

I have a 6-year-old, and his thing is to turn on Radio Disney in the car, and I get such an allergic reaction to listening to that music and the context into which it falls. I'm really working on him about that.

Fancy your having no sunshine in London yesterday! Here it was glorious, like full summer, and I sat up with the window wide open, listening to the discourse of two amorous thrushes.

I was growing up listening to Queen. Freddie Mercury threw those incredible melodies into his songs.

I just love listening to the laughter.

I was up until all hours of the night, listening to stories, meeting great old comedians.

There are many benefits to this process of listening. The first is that good listeners are created as people feel listened to. Listening is a reciprocal process - we become more attentive to others if they have attended to us.

I started listening to music when I wrote when I had three sons at home.

My playing started to develop through the Miles Davis stuff I was listening to.

The storytelling gift is innate: one has it or one doesn't. But style is at least partly a learned thing: one refines it by looking and listening and reading and practice - by work.

Any problem, big or small, within a family, always seems to start with bad communication. Someone isn't listening.

Whatever had been on the radio in the '60s; I mean we were always listening to the radio.

Because of the changes in the Padres team I played with last year, I felt like a veteran recently when I worked out with Jason Kendall and he told me he's liked listening to my records since he was a kid!

I think listening to real classic soul material made me learn how to feel music that's sung.

All of my style came from listening to records.

I had to be at least 8 or 9; I was listening to everything on the radio. You name it, I heard every song.

You can do and use the skills that you have. The schools need you. The teachers need you. Students and parents need you. They need your actual person: your physical personhood and your open minds and open ears and boundless compassion, sitting next to them, listening and nodding and asking questions for hours at a time.

Indeed - judicious, consistent parenting is a dream of mine. No judgements, learning space and listening carefully are my goals.

It was very hard to get any records, so the only source for us to really hear what was happening was listening to the Voice of America. We would be taping all the broadcast and then sharing the tapes and talking about it.

I've learned that I get blocked when my subconscious mind is telling me that I've taken the work in a wrong direction, and that once I start listening to what my subconscious is trying to tell me, I can work out the problem and get moving again.

When I began listening to saxophones, I was first attracted to Coleman Hawkins.

I really like listening to music in my car.

No one knows who is listening, say nothing you would not wish put in the newspapers.

What honour have we got left, when nobody is listening to us?

Trees are Earth's endless effort to speak to the listening heaven.

There is such a thing as tempting the gods. Talking too much, too soon and with too much self-satisfaction has always seemed to me a sure way to court disaster. The forces of retribution are always listening. They never sleep.

We do have our finger on the pulse of the marketplace, if for no other reasons than having all these live events and listening to our audience all the time.

Of all human activities, man's listening to God is the supreme act of his reasoning and will.

I'm so glad this is the last day of these thing, I get so tired of listening to my own voice.

When I finish an album and I find myself listening to it in the car, because it makes me feel a certain way, that's the time to try to let other people know about it.

The first jazz pianist I heard was Thelonious Monk. My father was listening to an album of his called 'Monk's Dream' almost every day from the time I was born.

I'd say that what we hear is the quality of our listening.

Writers have to have a knack for listening. I need to be able to hear what is being said to me by the voices I create.

Listening, not imitation, may be the sincerest form of flattery.

Look at the product pipeline, look at the fantastic financial results we've had for the last five years. You only get that kind of performance on the innovation side, on the financial side, if you're really listening and reacting to the best ideas of the people we have.