e-Book Musicophilia: Tales of Music and the Brain download

e-Book Musicophilia: Tales of Music and the Brain download

by Oliver Sacks

ISBN: 0330418386
ISBN13: 978-0330418386
Language: English
Publisher: Picador; Reprint edition (2008)
Pages: 240
Category: Music
Subategory: Photography

ePub size: 1420 kb
Fb2 size: 1189 kb
DJVU size: 1122 kb
Rating: 4.8
Votes: 813
Other Formats: azw mobi doc docx

Goodreads helps you keep track of books you want to read. Start by marking Musicophilia: Tales of Music and the Brain as Want to Read: Want to Read savin. ant to Read.

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In 2007 neurologist Oliver Sacks released his book Musicophilia: Tales of Music and the Brain in which he explores a range of psychological and physiological ailments and their intriguing connections to music. It is broken down into four parts, each with a distinctive theme; part one titled Haunted by Music examines mysterious onsets of musicality and musicophilia (and musicophobia). Part two A Range of Musicality looks at musical oddities musical synesthesia.

Music can move us to the heights or depths of emotion. It can lift us out of depression when nothing else can. It can get us dancing to its beat. But the power of music goes much. The case studies included here illuminate the multifarious and often surprising ways in which music and the.

Oliver Sacks’s compassionate, compelling tales of people struggling to adapt to. .Oliver Sacks turns his formidable attention to music and the brain. Musicophilia is a Chopin mazurka recital of a book, fast, inventive an.

Oliver Sacks’s compassionate, compelling tales of people struggling to adapt to different neurological conditions have fundamentally changed the way we think of our own brains, and of the human experience. He doesn’t stint on the science. but the underlying authority of Musicophilia lies in the warmth and easy command of the author’s voice. Mark Coleman, Los Angeles Times. His work is luminous, original, and indispensable. Musicophilia is a Chopin mazurka recital of a book, fast, inventive and weirdly beautiful. Yet what is most awe-inspiring is his observational empathy. The American Scholar.

This collection explores the interaction between music and the brain. 381 pp. Alfred A. Knopf. He is writing a book about nothingness. Continue reading the main story. We’re interested in your feedback on this page. Tell us what you think.

Tales of Music and the Brain. Darwin speculated that musical tones and rhythms were used by our half-human ancestors, during the season of courtship, when animals of all kinds are excited not only by love, but by strong passions of jealousy, rivalry, and triumph and that speech arose, secondarily, from this primal music.

Find many great new & used options and get the best deals for Musicophilia : Tales of Music and . The Washington Post Book World"Sacks has an expert bedside manner: informed but humble, self-questioning, literary without being self-conscious

The Washington Post Book World"Sacks has an expert bedside manner: informed but humble, self-questioning, literary without being self-conscious. Los Angeles Times"Sacks spins one fascinating tale after another to show what happens when music and the brain mix it u. Newsweek"Sacks once again examines the many mysteries of a fascinating subject.

In this book, Oliver Sacks explores the power music wields over us–a power that sometimes we control and at other times don’t. This is a book that explores, like no other, the myriad dimensions of our experience of and with music.

Musicophilia: Tales of Music and the Brain
Dr. Oliver Sacks is an esteemed writer in his field and all of his works that I have read so far are fantastic. This book is slightly technical and would call for basic knowledge of music as well as a little neuroscience. He will refer to specific regions in the brain and use some music-related jargon. Anything you don't understand isn't too difficult to look up. I absolutely love this book full of quirky cases!

My all time favorite Sacks book (have them all), and a "must read" for true music lovers (who also love to read). Extremely in-depth, encyclopedic realm of the world of sounds and nusic. Not to worry; Sacks also has all the weird neuro stuff, too. I wish my neurologist would read this. I have purchased multiple copies of this book for others, as well as for myself. Probably not for those who don't love to read, but I have this on my list of top reads in a lifetime of truly excessive reading. Incredible and delicious.

The New York Times has referred to neurologist Oliver Sacks as "the poet laureate of medicine", and his collections of patient case histories are as vast as they are intriguing.

Oliver Sacks, a neurologist and physician from London, England, has practiced medicine for over forty years. He has always held a passionate interest in music, in fact, he claims that "'Music' has always been one of the first things [he looks up] in the index of any new neurology or physiology textbook." In his forty-year practice of medicine, he has come across a number of rare cases, particularly those with a focus on music as an ailment or as a treatment.

Musicophilia covers a variety of musically related topics in neuroscience. Sacks divides these topics into four main parts: First, the often haunting onset of the heightened sensitivity to music, followed by the relation of music to all senses of the body, then the strange presence of music in the lives of patients with mentally crippling disorders, and finally, the incredible impact (or lack thereof) of music in the lives of all people, even those without any kind of condition. Because he has been working with patients who experience auditory phenomena for almost 50 years, Sacks uses each chapter of his book to explain a particular case. Some chapters are filled with examples of patients who suffer or have come to terms with some kind of disorder; others, however, reflect on only one patient, perhaps indicative of the rarities of certain conditions. Most patients experience these conditions around older ages, but still some are born with them. The spectrum of these "musicophilic" or even "musicophobic" conditions is so vast that Sacks has truly pioneered the investigation into this field with his documentation of them.

In Musicophilia, Sacks first recounts his experiences with patients who had, at some point in their lives, suddenly felt the onset of a heightened sensitivity to music. In his very first chapter, "A Bolt from the Blue: Sudden Musicophilia", Sacks tells us of Tony C., a fit forty-two-year-old orthopedic surgeon who was in great health. Tony remembered vividly the moment his onset occurred: He was at a family gathering, and though the weather outside was pleasant, a few storm clouds had accumulated in the distance when he went to make a phone call to his mother. While at the pay phone, he could hear rain amidst the conversation he was having when, upon witnessing a flash come out of the phone, found himself falling backwards to the ground. He had been struck by lightning. Tony even found himself in the middle of an out-of-body experience, believing himself to be dead, but what was even more strange for him was that once he was resuscitated, a short time later he had an insatiable craving for music. Feeling now more alive than ever before, his newly-formed passion for music stole away his every desire. His wife couldn't even bear it, filing for a divorce, but Tony remained indifferent. To this day, Tony still works full-time as an orthopedic surgeon, but his entire being revolves around music.

Though this passion for music may be seen as a blessing, others may see it as a curse. In subsequent chapters of Part I, Sacks tells of patients who, upon hearing a familiar tune, would convulse uncontrollably. Faced with the rare condition of Musicogenic Epilepsy, many of these patients would live in fear of hearing that one familiar tune that set off the attacks, and so Sacks illustrates the need for research in curing that aurally crippling ailment. Sacks also discusses the mechanisms and regions of the brain responsible for musical imagination and continuous playback, as in the case of a catchy tune, until finally, he delves into the rare condition known as Musical Hallucination.

Part II of Musicophilia concerns the vast range of musicality that individuals possess, and Sacks covers topics in Amusia, Absolute Pitch, Dysharmonia, Savant Syndrome, and even Synesthesia. Sacks demonstrates just how fascinating some of these conditions may be in his stories, and in one case of absolute pitch he tells of a former professor of music at Oxford who could even tell what pitch came from the wind blowing or his father blowing his nose.

Sacks moves on from there, illustrating the relationship music has with vital processes such as movement and memory formation. He recounts histories of patients with Tourette's Syndrome, Amnesia, Parkinson's Disease, Phantom Limb Syndrome, and even Musician's Dystonia. All of these patients have suffered through some kind of somatic condition, losing some kind of normal kinesthetic or neural function, yet have used music therapeutically to help at least temporarily overcome their obstacles. Perhaps the most inspiring story comes with Nick van Bloss, an English pianist who had, since age seven, developed a severe form of Tourette's syndrome which created for him a life of ridicule and bullying. It was not until his parents bought a piano that his life became transformed for good. "When I played, my tics almost seemed to disappear. It was like a miracle," he said, and from that he found his passion for a life in music.

Musicophilia closes with Part IV, demonstrating how music is intertwined with emotion and even identity. Sacks states that "music, uniquely among the arts, is both completely abstract and profoundly emotional" (300). In one patient, Harry S., music is the only emotion able to be fully felt after suffering through a brain aneurysm. It is truly amazing to read of the ways music has helped these patients, and even in closing, Sacks shares a truly heartwarming story of how music therapy even brought back certain memories to a person who struggled with dementia.

When I listen to music, I feel wrapped in it entirely. It makes up such a major part of my life, and I know that it impacts so many others in much the same way. Oliver Sacks' Musicophilia demonstrates the countless ways music has helped others in their lives, including adverse conditions such as Savant Syndrome, Amnesia, even Dementia - and for this reason I rate Musicophilia a five out of five stars. It is truly inspiring to hear how many of these patients whom Sacks has interacted with have relied on music in their lives, and uplifting to hear how music has brought back good memories or normal functions in them. In much the same way, it is fascinating to hear of all those who have been tormented by musicogenic epilepsy, or even hallucinations, and I feel that Sacks' patient histories illustrate the need for future research in treating these ailments.
I would, however, make the caveat that Sacks does not write for a scientific audience. I have even searched for his case histories on PubMed, a large database of scientific research studies, and not a single story of his was there. His writing style is not intended for research, as he instead comments on the patient's psychosocial behaviors and lifestyle outside of the normal clinical setting. I have found that he spends almost as much time covering the history and lifestyle of a patient as he does covering the pathology of the specific condition, removing certain physiological or biochemical details but instead adding a poetic, humanistic feel to his tales.

All-in-all, Musicophilia is as eye-opening as it is ear-opening! I would recommend this book to anyone desiring to learn the neurological background to many musical conditions, as Sacks provides the framework in a simple yet humanistic way.

Legend 33
Oliver Sacks is truly one of the greats. This book can interest psychologists (me) and musical enthusiasts (also me, but who isn't) and just regular people who are interested in learning about some of the fascinating parts of the human experience and mind.

I have always liked Oliver Sacks' writing. His mix of clinical
observation, erudite philosphical musings, combined with the
deep empathy for the patients he describes is unique. However,
this book is quite different from his previous offerings since he
chooses a single underlying theme. It would appear that the
cases discussed and conclusions drawn would be more limited
than the far ranging examples in his previous books.

Yet, if anything, the opposite is true. He delves deeply into
this, some would say, inessential human endeavor, and shows
how intricately it is interwoven with everything else that makes
us human. In doing so he illustrates, perhaps better than in
any of his previous works, how complex our minds truly are.

The first story in the book, which appeared in the New Yorker
several months before publication, really sold me on the book.
I was somewhat disappointed with the next few pieces, which
were a bit of a letdown. However, the book soon picks up, and
the second half is as good as anything he has written before.
He does revisit several of his earlier case studies, however he
casts them in a new light.

Read the first story on the New Yorker website. If you like it,
you will enjoy the book

Fantastic work by Oliver Sacks as he illustrates the connection between music and the human mind. An eye opener into the world of music therapy, and a thoughtful work expressing the benefits of music with respect to neurology and neurological disease. Each chapter administers a great impact with even greater emotion escorted alongside.

This book is good for music lovers, and even those, thankfully few, music-haters among us. While Oliver Sacks doesn't tell us why music is so universally loved by the human species, he does tell the myriad ways in which the human brain switches on or switches off the love.
From his many case studies over the decades, as well as his own personal experiences, the reader learns how people internalize music, recalling it in diverse ways. Some, like Sacks himself, can replay complete concertos in their heads, and many people dream music, and some even compose music completely internally. The rest of us play music on iPods, go to concerts, hum tunes to ourselves, and make music of various sorts. At the end of the book, having learned what Sacks means by "Musicophilia", I was left bewildered at how music has taken over our lives.

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