We can consider anything, from whether change careers to what color socks to wear, but when the word “consideration” is used alone, it usually refers to how we treat another person or other people. Showing consideration, or being considerate, means acting in a way that is mindful and respectful of their circumstances, carefully considered.
Real
True Narratives
Consideration is more than mere civility but the subjects are closely related.
- Anna Post and Emily Post, Mr. Manners: Lessons from Obama on Civility (Andrews McMeel Publishing, 2010).
Technical and Analytical Readings
- P.M. Forni, Choosing Civility: The Twenty-Five Rules of Considerate Conduct (St. Martin's Press, 2002).
- P.M. Forni, The Civility Solution: What to Do When People Are Rude (St. Martin's Press, 2008).
- Stephen L. Carter, Civility: Manners, Morals, and the Etiquette of Democracy (Basic Books, 1998).
- John Sweeney, Return to Civility: A Speed of Laughter Project (Aerialist Press, 2007).
- Teresa M. Bejan, Mere Civility: Disagreement and the Limits of Toleration (Harvard University Press, 2017).
- Russell P. Johnson, Beyond Civility in Social Conflict: Dialogue, Critique, and Religious Ethics (Cambridge University Press, 2024).
Photographs
Documentary and Educational Films
Imaginary
Fictional Narratives
Poetry
Music: Composers, artists, and major works
Conductor Carlo Maria Giulini “was known for his probing, self-effacing approach to orchestral and operatic scores.” He was “an idealistic maestro acclaimed for his refined and insightful accounts of the standard orchestral repertory and for several now classic recordings of operas by Mozart and Verdi . . .” Here are links to his playlists, and to Giulini conducting live.
Wolfgang Amadeus Mozart, Piano Concerti 11-19 (approx. 183’): in this period, Mozart emphasized the interplay between the voices. These are not show pieces for the solo instrument but more traditional concerti, in which the solo voice takes its place among the others.
- Mozart, Piano Concerto No. 11 in F major, K. 413 (1783) (approx. 23’)
- Mozart, Piano Concerto No. 12 in A major, K. 414 (1782) (approx. 25’)
- Mozart, Piano Concerto No. 13 in C major, K. 415 (1783) (approx. 26-28’)
- Mozart, Piano Concerto No. 14 in E flar major, K. 449 (1784) (approx. 22-23’)
- Mozart, Piano Concerto No. 15 in G flat major, K. 450 (1784) (approx. 24’25’)
- Mozart, Piano Concerto No. 16 in D major, K. 451 (1784) (approx. 24-26’)
- Mozart, Piano Concerto No. 17 in G major, K. 453 (1784) (approx. 30-31’)
- Mozart, Piano Concerto No. 18 in B flat major, K. 456 (1784) (approx. 29-31’)
- Mozart, Piano Concerto No. 19 in F major, K. 459 (1784) (approx. 27-28’)
Other works:
- Jean-Philippe Rameau, Pièces de clavecin en concerts (1741) (approx. 52-65’), are Rameau’s only chamber works, usually divided into five “concerts”. Both in good times (major keys) and in bad times (minor keys), each voice freely expresses itself, while giving room for the other voices to do the same.
Albums:
- Jane Ira Bloom, “Art and Aviation” (1991) (58’) is “a remarkably successful (and fairly early) attempt to bring electronic influences to bear on acoustic jazz.”