DIPLOMA IN PLANTING INDUSTRY MANAGEMENT (AT110)

FACULTY OF PLANTATION AND AGROTECHNOLOGY

INTERPERSONAL COMMUNICATION (INC271)

ASSIGNMENT CHAPTER 6

NO. NAME MATRIC NO.

1. NURSYAZWANI BINTI ZAIDI 2019404616
2. ANIS ATHIRAH BINTI MOHMAD RAHIM 2019439612
3. NUR AQILAH BINTI ABDULL GANI 2019437392
4. NUR NAJWA AMALIN BINTI MOHAMAD NAJIB 2019440032
5. NOR AIDA FARIZA BINTI ZARAWI 2019211884
6. SITI NUR AISHAH BINTI ABD AZIZ 2019418142

LECTURER’S NAME:

MADAM NAZALYYUSMA YUSOP

SUBMISSION DATE

17 JANUARY 2022
1. Define listening, describe its 5 stages and identify some of the skills forimproving

listening at each stage.

Listening can be defined as the process of hearing, comprehending, retaining, assessing, and

reacting to vocal, spoken, written, or potentially nonverbal communications. Tuning in can be

viewed as a five-phase cycle that includes receiving, understanding, remembering, evaluating,

and responding.

Stage one: Receiving

Hearing and receiving is a physiological connection that occurs when vibrations from all around

you become visible and encroach on your eardrum. Hearing is essentially an uninvolved cycle

that occurs without your involvement or energy.

To increase your listening skills, focus on the speaker's verbal and nonverbal messages, avoid

distractions from the environment, and maintain your role as an audience member by refraining

from intervening.

Listening to music, for example, might send us messages since the lyrics may include

information.

Stage two: Understanding

Understanding is the stage at which you realize what the speaker is implying, and it is also the

stage at which you deal with both the musings and the sentiments expressed. Understanding

one without the other will almost always result in an unbalanced picture.

You can improve your listening comprehension in a variety of ways, including not expecting to

understand what the speaker will say before he or she actually says it, seeing the speaker's

messages from the speaker's perspective, asking for clarification if necessary, and rewording

(reworking) the speaker's thoughts as naturally as possible.

Listening to music necessitates a high level of comprehension in order to comprehend the

concepts that the singer is attempting to convey.

Stage three: Remembering

The most important thing to remember about memory is that what you recall isn't information

transferred, but rather what was spoken. Memory for speech is not reproductive, and you do not

just repeat what the speaker said in your head. Memory, on the other hand, is reconstructive in

the sense that it allows you to put the signals you receive into a framework that makes sense to

you.

Here are FOUR options for working with data entry from short-to-long-term memory (focus,

organize, unite, repeat). Concentrate on the main concepts and organize what you hear;

summaries the message in a more easily held framework; connect the new with the old; relate

new material to what you already know; and repeat names and key ideas to yourself or, if

appropriate, out loud.

When it comes to our favorite singers or bands, we often recall their songs or even their entire

new album. We did it because we wanted to, not because we had to.

Stage four: Evaluating

In some way, assessing entails making a judgement about the signals. You could try to figure

out what the speaker's true objectives or motives are at times. This evaluative procedure is

frequently carried out without much conscious awareness.

Consider these opposing ideas when evaluating: distinguish realities from suppositions and

individual understandings by the speaker, distinguish any inclinations, personal matters, or

biases that may lead the speaker to incline unreasonably what is said, recognize erroneous

types of "thinking" that speakers may employ (ridiculing, tribute, fad).

We assess each and every word in order to comprehend the lyrics. To dig deeper into someone's

sentiments, sad songs always include a great vocabulary or bombastic language. There are

songs that can be relevant to our situations in some way.

Stage five: Responding

Responding occurs in two phases: responses you make while the speaker is talking (immediate

feedback) and responses you make after the speaker has stopped talking (delayed feedback).

These criticism messages send data back to the speaker and tell the speaker how you feel and

your opinion on their messages.

Improving listening responding includes keeping away from a portion of the ruinous and

rehearsing more valuable examples, for example, support the speaker all through the speaker's

discussion by utilizing and shifting your listening signs, for example, head gestures and negligible

reactions, own your reactions and assume liability for what you say, oppose "reacting to

another's sentiments" with "tackling the individual's issues", center around the other individual

and avoid performing different undertakings when you're tuning in. Finally, abstain from being

an idea-finding audience who listens a little and afterward completes the speaker's idea. All

things considered, express regard by permitting the speaker to finish their contemplations.

The way we act after listening to that one particular song is how we respond. Sometimes a song

can change someone’s emotion or affect someone’s attitude.

2. Explain major barriers to effective listening.

Distraction physical and mental

Hearing impairment, a noisy setting, or loud music can all be physical distractions to listening.

Mental distractions can obstruct concentrated listening in a variety of ways. Thinking about your

forthcoming Saturday night date is a common mental distraction, as is becoming too emotional to

think (and listen) coherently.

Biases and prejudice

Inclinations and biases against groups, or towards people who are members of such groups, will

constantly skew tuning in. Expose your prejudices and beliefs to contradicting data as an

audience member.

Racist, Heterosexist, Ageist and Sexist Listening

Bigot, heterosexist, ageist, and misogynist attitudes influence your language, and they can also

influence your tuning if you hear what people say through the generalizations you hold. Prejudiced

listening happens when you listen to someone differently because of his or her gender, race,

sexual orientation, or age, even if these qualities are unrelated to the message.

Lack of appropriate focus

Zeroing in on the thing an individual is saying is clearly vital for compelling tuning in. However,

there are several influences that can take you off target. As an audience member, do everything

you can to avoid becoming sidetracked from the main point; don't even get hung up on minor

details. Try to rehash the plan to yourself and notice the intricacies that correspond to this main

idea. As a speaker, try to avoid using language or models that may distract people from your main

point. The enormous amount of data that covers you makes maintaining a fitting center difficult.
Premature judgement

Untimely judgement assumes you already know what the speaker will say, so there's no

compelling incentive to listen in. Making judgements or decisions based on insufficient evidence

is a common audience response. A frequent audience reaction is to base judgements or decisions

on insufficient evidence. Audience members occasionally tune out after hearing a speaker, for

example, voice a viewpoint they can't help but disagree with or make some chauvinist or socially

insensitive statement.
3. Define 4 styles of listening and explain how each may be used effectively

Empathic and objective listening

Empathic listening is the preferred technique of reaction; yet, you may occasionally need to

engage in target paying attention to go beyond compassion and assess implications and

sentiments against some goal reality. You must occasionally lay aside your empathic responses

and tune in with objectivity and isolation.

In changing your empathic and objective listening, you need to accentuate the message from the

speaker's perspective by seeing the arrangement of occasions (which occasions are causes and

which are impacts) as the speaker does, participate in equivalent or two-way discussion and try

not to interfere with the speaker which conveys the message that what you need to say is more

significant, try to comprehend the two contemplations and sentiments, keep away from "offensive

listening" and endeavor to be target when paying attention to companions and enemies the

same.

Non-Judgmental and critical listening

Obviously, nonjudgmental listening should come first; tune in for comprehension while delaying

judgement. Only after you've fully comprehended the relevant messages should you assess or

judge. Tuning in with a receptive outlook helps you understand information better, while tuning in

with a basic brain helps you investigate and examine the signals.

Here are some things you should and should not do when adjusting your nonjudgmental and

critical listening skills. Maintain a receptive attitude and refrain from prejudging, sifting through or

misrepresenting complex messages, perceiving your own proclivities, refraining from honing, and

perceiving incorrect conceptions of language.

Surface and depth listening

Surface tuning in, a strict perusal of the words and sentences, can reveal an evident

connotation in many messages.

In order to manage your surface and depth listening, you should focus on both verbal and

nonverbal messages, listen for both substance and social messages, take specific notes

of self-reflexive proclamations, and don't ignore the strict importance of attempting to

uncover the message's hidden significance.

Polite and impolite listening

Politeness is frequently regarded as the speaker's selective capacity, rather than as solely an

encoding or conveying capacity. In any event, graciousness (or discourteousness) can be elicited

by listening (Fukushima, 2000).

As you read, keep in mind that these are approaches designed to be consistent if the speaker's

positive and negative faces require a variety of things. Avoid intruding on the speaker, provide

consistent listening signals, provide strong listening prompts, show compassion with the speaker,

stay in touch, and remember that constructive criticism will be perceived as courteous in the

interim and negative input will be viewed as rude.

References

• Devito, J. A. (2019). The interpersonal communication book (14th ed.). Pearson Education, Inc.

• Ginsburg, R. (1996). Music and interpersonal communication: An in-depth view of AniMusic and

interpersonal communication: An in-depth view of Ani DiFranco and her lyrics DiFranco and her

lyrics. Music and Interpersonal Communication: An In-Depth

• View of Ani DiFranco and Her Lyrics. https://doi.org/10.25669/jpf6-7v2m

• Lea, C. (n.d.). . Quizlet. https://quizlet.com/14996583/chapter-6-listening-flash-cards/