Notes of melodious laughter bubbled, in my mind's ear
, through all the drawling and stammering of our speech-making members.
This "mind's ear
" is noticeably different from the ears of Apollinaire's mind when he wrote (in Anne Hyde Greet's translation):
In the mind's ear
, one has an ideal of the perfect performance of a piece.
'I've got to get off this table,' said the clear voice of the visitor in the mind's ear
of the little girl.
The results--in my mind's ear
, at least--generally ring true.
Reduced blood flow in the SMA of hallucinators imagining someone else's voice may block the "mind's ear
" and create a "less secure appreciation" of where the voice originated from, McGuire and his coworkers argue.
Beyond how the poem is a poem, however, there are moments of real beauty and great poetry: lines such as "Betweenpie, I expected the loveliest brainchild ever" (75) and "Character captured/at the hinge of two destinies // While still unhandseled/When water was precise" (53) reward the mind's ear
. The Master Thiefworks at the kind of serious play missing from so many recent books of poetry.
Aamodt is definitely on to something, perhaps because he focuses on the essence of sound and links it to images in the mind's eye and sounds and memories in the mind's ear
My grandmother's speech was much less Black Country, but once again the mind's ear
has been imprinted with only one utterance.
In my mind's ear
, I can hear his father, the Rev John Brown, who passed on his values to the son of the Manse.
The heavenly tinnitus and the sweet echoes of every anthemic song were present in the mind's ear
of the girl as the dazzling headlights of the approaching taxi hurt her eyeballs.
It's been a very long time since I heard a Gregorian chant, but its memory was still very strong in my mind's ear
, if you will.
bless them forever)' there in your mind's ear
, "There are no simple explanations/not for the excesses/not for the accumulations....
But it turns out that I didn't truly hear them in my mind's ear
: without this, the vocalist in me was left far behind, and much work was needed to both truly hear, and execute, these ideas.
The essays discussing various aspects of Aida, Otello, and even I Puritani were, for this reviewer, more readily assessable than the fascinating essay by Francesco Izzo, "Comic Sights: Stage Directions in Luigi Ricci's Autograph Scores," as the works were not in my mind's ear
as I was reading.