Musicophilia: Tales of Music and the Brain
by Oliver Sacks
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Description
Music can move us to the heights or depths of emotion. It can persuade us to buy something, or remind us of our first date. 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, much further. Indeed, music occupies more areas of our brain than language does--humans are a musical species. Oliver Sacks's compassionate, compelling tales of people struggling to adapt to different neurological conditions have fundamentally show more changed the way we think of our own brains, and of the human experience. Here, he examines the powers of music through the individual experiences of patients, musicians, and everyday people. Music is irresistible, haunting, and unforgettable, and Oliver Sacks tells us why.--From publisher description. show lessTags
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Member Recommendations
bernsad Fans of Oliver Sacks will find this interesting as it is one of his case studies.
Member Reviews
A marvellous testament to the amazing complexity of the brain and its ability to reorganize and rewire itself. It is equally a reminder of why a term like neurodiversity is so important; that reading a difference as a "disability" often masks the different pathways of experience and even creativity that neural differences make possible. It is, equally, a reminder of the terror and loneliness that can accompany some types of brain dysfunctions. I found the book, however, a bit of a slog, and that was simply because it was overstuffed with examples. Every time a specific condition is introduced, Sacks then discusses umpteen examples of it. Moreover, similar points about brain functioning are often made across chapters, making the book as show more a whole somewhat repetitive. However, the curioisty and generosity of the author shines through. show less
O grande cronista da neurologia clínica, Oliver Sacks, aborda neste livro casos envolvendo música e anormalidades neurológicas, para deste modo sugerir aqui e ali como a música é importante em geral para nossa vida mental, e como ela se liga a aspectos diversos de nosso equipamento social-cognitivo. E de fato, a música é tão central, que apesar de não ter grande poder representacional, se manifesta em tudo que é cultura e acessaria até mesmo níveis cerebrais sub-corticais, sendo das poucas coisas que se manteria como possibilidade para pessoas severamente acometidas por amnésia, alguns tipos de demência e parkinson. O livro dá vários exemplos desse poder mnemônico impar, além daquele de organizar mentalmente pessoas show more que sem música não conseguem nem mesmo andar. Outras coisas curiosas no livro incluem a menção a humanos, que como os overlords da ficção "fim da infância" de Arthur Clarke, não possuim os aparatos neurológicos para apreciar melodias e sons, não conseguindo integrar notas em melodias, ou mesmo linhas melódicas em um todo, ou sons ambientes em uma imagem sonora única. Também ocorre daqueles que não conseguem, inversamente, perceber sons fora de contextos bem definidos - por exemplo, não são capazes de dizer se um som é grave ou agudo, mas seguem perfis melódicos. Ademais, Sacks aborda um pouco experimentos, como o inconclusivo mas sugestivo "the white christmans effect", onde os participantes escutam uma música familiar, mesmo quando o volume é colocado no zero. De fato, nosso imaginário musical espontâneo é muito peculiar, sendo comum tocarmos músicas em nossas cabeças. Foi mostrado que em situações de deprivação de sensações, é comum que nós mesmos no nível neurológico produzirmos sinais de compensação. Quando certos mecanismos se desregulam, ou se desinibem, essas "release hallucinacions" podem gerar alucinações musicais persistentes e várias são relatadas. Também há toda uma seção dedicada ao ouvido absoluto, sendo a parte que sugere a comparação com as cores aquela de interesse. Pois ninguém tem dificuldades de nomear as coisas que vê, como temos de nomear as que escutamos em música - dificilmente dizemos que discriminamos cores mas não sabemos seus nomes, ou que precisamos que se diga que uma é azul para que digamos que a outra é vermelha (como acontece com as notas musicais, para a maioria das pessoas). Por fim, o dramático caso de Clive Wearing, o homem com 7 segundos de memória, é extensamente abordado, dada a relação deste com música e a importância desta para que ele consiga sair de sua condição. Em seu diário, em um período desesperador, ele só escrevia seguidamente coisas como "tal hora, estou consciente" ou "tal hora, agora sim, estou acordado" seguidamente e incessantemente. Esse estado foi amenizado um tanto desenvolvendo uma prática de tagarelar. Tocar piano e até mesmo reger, Clive conseguia, entretanto, peças inteiras e com expressão, embora não lembrasse, segundos depois, de tê-lo feito. Mesmo com demência grave observamos respostas emocionais contundentes à música em pacientes diversos, o que indica que há ainda, embora intermitente, um eu, um si, a ser evocado, mesmo se só a música pode fazê-lo. show less
I almost wish I had a rare brain disorder so I could get to meet Dr. Sacks. He is a fascinating person on paper but I suspect face to face he would be unforgettable. He describes himself as shy and withdrawn but he obviously connects with patients and his co-workers. In this book, as in Uncle Tungsten, he has allowed more of himself to come through. Perhaps it is because the subject, music, was an integral part of his growing up.
I learned a lot about music by reading this book. Music has always been important to me and I took piano lessons for 10 years but I am not gifted musically. I can sing in tune if I am with others but on my own I have trouble staying on key. The one thing piano lessons did for me was make me appreciate music show more and I am in awe of people who can play, compose, sing or even keep a rhythm. My mother, who never had any formal music training until she was in her late 60's, could sight read music, play from memory, transpose keys for music that people had trouble singing and even compose songs. When she was retired she started playing for church occasionally (whereas I got horrible stage fright playing for an audience) and she decided she would learn to play the organ so she could play that for church. Even when she wasn't practising for church she would often spend hours playing the organ. One of her dogs would climb into the big recliner and gaze happily at her when she played. After reading this book, especially the part about music therapy for Alzheimer's patients, I wish we had organized music therapy for my mother when she was in the later stages of that disease. I think she would have benefited enormously by it. I'm making a note to myself that I want to explore some facet of music when I retire. As Sacks says in his final paragraph:
Music is part of being human, and there is no human culture in which it is not highly developed and esteemed. Its very ubiquity may cause it to be trivialized in daily life: we switch on a radio, switch it off, hum a tune, tap our feet, find the words of an old song going through our minds, and think nothing of it. But to those who are lost in dementia, the situation is different. Music is no luxury to them, but a necessity, and can have a power beyond anything else to restore them to themselves, and to others, at least for a while.
I hope Oliver Sacks has many more books in him. I'll be reading every word. show less
I learned a lot about music by reading this book. Music has always been important to me and I took piano lessons for 10 years but I am not gifted musically. I can sing in tune if I am with others but on my own I have trouble staying on key. The one thing piano lessons did for me was make me appreciate music show more and I am in awe of people who can play, compose, sing or even keep a rhythm. My mother, who never had any formal music training until she was in her late 60's, could sight read music, play from memory, transpose keys for music that people had trouble singing and even compose songs. When she was retired she started playing for church occasionally (whereas I got horrible stage fright playing for an audience) and she decided she would learn to play the organ so she could play that for church. Even when she wasn't practising for church she would often spend hours playing the organ. One of her dogs would climb into the big recliner and gaze happily at her when she played. After reading this book, especially the part about music therapy for Alzheimer's patients, I wish we had organized music therapy for my mother when she was in the later stages of that disease. I think she would have benefited enormously by it. I'm making a note to myself that I want to explore some facet of music when I retire. As Sacks says in his final paragraph:
Music is part of being human, and there is no human culture in which it is not highly developed and esteemed. Its very ubiquity may cause it to be trivialized in daily life: we switch on a radio, switch it off, hum a tune, tap our feet, find the words of an old song going through our minds, and think nothing of it. But to those who are lost in dementia, the situation is different. Music is no luxury to them, but a necessity, and can have a power beyond anything else to restore them to themselves, and to others, at least for a while.
I hope Oliver Sacks has many more books in him. I'll be reading every word. show less
Perhaps I should stop reading Oliver Sacks, because I think I had the same problems with The Man Who Mistook His Wife For a Hat. He’s a beautiful writer, warm and compassionate, clearly interested in the oddities of the brain, and good at conveying psychological information. There was a lot in the book that was illuminating or at least interesting, and I learned a lot about how weird the brain can get and how separated processes are in it. On these counts, Sacks is praised for good reason.
But there were two issues that lowered my enjoyment. First, while the case studies and anecdotes are interesting, I was hoping for more depth in the science and discussions, some progression in his style since Man Who Mistook His Wife, and Sacks kept show more returning to past books or moments of his life for them too, which got to feel almost a bit repetitive and self-congratulatory.
And second—and this is the big one, guys—Sacks’ acceptance of the non-neurotypical is imperfect, and that’s what really lost me. It’s not even more than a few instances of ableist language, but it’s there. Stuff like how people with X aren’t normal or can’t do something, or using and quoting outdated terms for people with developmental delays (which have become slurs), or in a few instances, turning his stories almost into pity-porn.
Now, it could be that he’s using clinical definitions of “normal” and “ability” and the slurs* and I, in my cynical laywoman’s way, am reading too much into things, or it could be a generational difference or the fact that discourse around this stuff has progressed since the book was published, I don’t know. I can say that this is a fairly long book full of descriptions of the neurodiverse and clinical wordings that aren’t ableist, so we know he can do it. That almost makes his slips stand out more.
Whatever the reason, the wording issues threw me off and coloured the rest of the book once I started noticing them. (I might’ve been harder on the anecdote front because of my grumpiness, for instance.)
I don’t think I can really recommend this one, but I also don’t think I can un-recommend it to people. The information is interesting. The writing is good. It’s just … also not the best it could have been?
* He probably is, with the slurs
Warnings: Ableist language, including mostly-quoted and always clinical uses of slurs against the developmentally delayed, but also concerning the mentally ill and autistic.
5/10 show less
But there were two issues that lowered my enjoyment. First, while the case studies and anecdotes are interesting, I was hoping for more depth in the science and discussions, some progression in his style since Man Who Mistook His Wife, and Sacks kept show more returning to past books or moments of his life for them too, which got to feel almost a bit repetitive and self-congratulatory.
And second—and this is the big one, guys—Sacks’ acceptance of the non-neurotypical is imperfect, and that’s what really lost me. It’s not even more than a few instances of ableist language, but it’s there. Stuff like how people with X aren’t normal or can’t do something, or using and quoting outdated terms for people with developmental delays (which have become slurs), or in a few instances, turning his stories almost into pity-porn.
Now, it could be that he’s using clinical definitions of “normal” and “ability” and the slurs* and I, in my cynical laywoman’s way, am reading too much into things, or it could be a generational difference or the fact that discourse around this stuff has progressed since the book was published, I don’t know. I can say that this is a fairly long book full of descriptions of the neurodiverse and clinical wordings that aren’t ableist, so we know he can do it. That almost makes his slips stand out more.
Whatever the reason, the wording issues threw me off and coloured the rest of the book once I started noticing them. (I might’ve been harder on the anecdote front because of my grumpiness, for instance.)
I don’t think I can really recommend this one, but I also don’t think I can un-recommend it to people. The information is interesting. The writing is good. It’s just … also not the best it could have been?
* He probably is, with the slurs
Warnings: Ableist language, including mostly-quoted and always clinical uses of slurs against the developmentally delayed, but also concerning the mentally ill and autistic.
5/10 show less
Neurologist and prolific author Oliver Sacks turns his attention to music and the brain in this collection of case studies of patients and others.
I've read Hallucinations and Gratitude, and own two other books by Sacks that I'm interested in reading. His collections of case studies both shine light on how the brain works and what it can do when it works uniquely in an individual. I found this one of his weaker books. Music is the driving force behind it, but the case studies are all over the place, running the gamut from perfect pitch (very closely related to music) to an individual who had such severe amnesia and short term memory loss that he couldn't remember anything within a few minutes but who nonetheless could still relate to show more music. Some chapters were organized thematically and introduced several case studies; a few were one unique case study, only a few pages long. And for some reason, this one in particular had a lot of notes referring to case studies that were explored more fully in his earlier books. I carried on because I did enjoy what I was learning, but it's probably not a book I'd reread nor one I'd recommend as an introduction to Sacks' work. show less
I've read Hallucinations and Gratitude, and own two other books by Sacks that I'm interested in reading. His collections of case studies both shine light on how the brain works and what it can do when it works uniquely in an individual. I found this one of his weaker books. Music is the driving force behind it, but the case studies are all over the place, running the gamut from perfect pitch (very closely related to music) to an individual who had such severe amnesia and short term memory loss that he couldn't remember anything within a few minutes but who nonetheless could still relate to show more music. Some chapters were organized thematically and introduced several case studies; a few were one unique case study, only a few pages long. And for some reason, this one in particular had a lot of notes referring to case studies that were explored more fully in his earlier books. I carried on because I did enjoy what I was learning, but it's probably not a book I'd reread nor one I'd recommend as an introduction to Sacks' work. show less
Music, as Sacks points out in this book, is a peculiar thing. It's the only human art form that is (almost) completely abstract and yet resounds emotionally with most people; sure you can set words to it, you can specifically use it for something, but the musical notes, melodies, harmonies and rhythms themselves don't have any logical meaning. We are perfectly aware of this (Sacks quotes Arthur C Clarke's Overlords from Childhood's End, saying humanity is the only species they've ever come across to invent something as useless as music). And yet it's everywhere; in our oldest archeological findings, in every single culture, in maternity wards and in old folk's homes, in wars and in love scenes... And it seems to work on us on a much show more deeper level than simple enjoyment, deeper than memory, deeper than language.
Sacks (Awakenings, The Man Who Mistook His Wife For A Hat) is a neurologist and psychiatrist first and foremost, but also an amateur musician and very knowledgeable (classical) music fan. In Musicophilia he collects a number of case histories of people who have been mentally damaged, either from birth, illness or accidents, some more severely than others, and their relationship to music; those who suddenly find themselves unable to even hear music as anything but random noise, those who suddenly find an almost pathological passion for music take over their entire life, musicians who suddenly find their brains going out of tune... but also musical idiots savants, people suffering from severe memory loss or brain damage who are still able to communicate with their loved ones and live through music, people who have been locked inside themselves for decades but who can be woken by a familiar song. He can tackle both the rather mundane problem of tunelessness and the very serious cases, like the man whose short-term memory has been reduced to mere seconds but can still conduct an orchestral piece that's much, much longer.
Musicophilia is consistently fascinating and occasionally both heartbreaking and -warming in the stories it tells; but personally, I think I came at it from the wrong direction. Sacks, as a doctor, gives plenty of examples of how music works in relationship to various cases, how it can be used to help people or how he's seen people's relationship to it change with their illnesses, and the specific workings in our brains that help (or hinder) us process information; but never really gets to the heart of what music means to us in a larger sense. He's a good writer and the book is an easy read, but to a layman like me, the book could have used more of a frame story, a cohesive theory... relevance to make it more than just a collection of interesting case studies. Still, at the end of it, you'll know a lot more both about how we work and how music works with and on us; but if the Overlords ever come asking, you may not have an easier time explaining it to them. show less
Sacks (Awakenings, The Man Who Mistook His Wife For A Hat) is a neurologist and psychiatrist first and foremost, but also an amateur musician and very knowledgeable (classical) music fan. In Musicophilia he collects a number of case histories of people who have been mentally damaged, either from birth, illness or accidents, some more severely than others, and their relationship to music; those who suddenly find themselves unable to even hear music as anything but random noise, those who suddenly find an almost pathological passion for music take over their entire life, musicians who suddenly find their brains going out of tune... but also musical idiots savants, people suffering from severe memory loss or brain damage who are still able to communicate with their loved ones and live through music, people who have been locked inside themselves for decades but who can be woken by a familiar song. He can tackle both the rather mundane problem of tunelessness and the very serious cases, like the man whose short-term memory has been reduced to mere seconds but can still conduct an orchestral piece that's much, much longer.
Musicophilia is consistently fascinating and occasionally both heartbreaking and -warming in the stories it tells; but personally, I think I came at it from the wrong direction. Sacks, as a doctor, gives plenty of examples of how music works in relationship to various cases, how it can be used to help people or how he's seen people's relationship to it change with their illnesses, and the specific workings in our brains that help (or hinder) us process information; but never really gets to the heart of what music means to us in a larger sense. He's a good writer and the book is an easy read, but to a layman like me, the book could have used more of a frame story, a cohesive theory... relevance to make it more than just a collection of interesting case studies. Still, at the end of it, you'll know a lot more both about how we work and how music works with and on us; but if the Overlords ever come asking, you may not have an easier time explaining it to them. show less
Musicophilia provides a broad survey of human perception of music, built up through vignettes of specific people and their experience. The case-level detail is intriguing and story-like, how music's influence on the human mind and perception appears to individuals and those they love. While suggestive of the broad way our brains typically operate, and their potential for adapting to new stimuli or constraints, Sacks makes little effort to sketch a type or model explicitly.
Sacks remarks at various points that while general theories of the neurological basis of musicality might be expected, little research has been published nor models widely recognized, and reference works largely omitted music from the index. Sacks organizes his show more material not after any recognised subdisciplines (assuming there are any such), but to fit his vignettes and personal interests. After noting the human capacity for perceiving and enjoying music is as much a universal characteristic of the species as is language, nevertheless our musicality "is vulnerable to various distortions, excesses, and breakdowns" [xiii] and his essays focus not so much on the loss of musicality (aka amusia) as on those aberrations.
I - Haunted by Music
musical imagery may become excessive and uncontrollable [xiii]
II - A Range of Musicality
musicality comprises a great range of skills and receptivities ... and that in principle, all of these are dissociable one from another [104]
III - Memory, Movement, and Music
music ... may be especially powerful and have great therapeutic potential for patients with a variety of neurological conditions [xiii]
IV - Emotion, Identity, and Music
As music seems to resist or survive the distortion of dreams or of parkinsonism, or the losses of amnesia or Alzheimer's, so it may resist the distortions of psychosis and be able to penetrate the deepest states of melancholia or madness, sometimes when nothing else can [332]
Each section includes multiple stories of specific people, each illustrating a changed or persistent appreciation of music during atypical neurological states. Sacks provides little detail on level of neurons or areas of brain, more detail on responses to music in various situations / physiomental circumstances. What's clear is that music either works through different neural pathways than language, or conceivably at times operates via the same pathways but in a different manner, such that when a person appears blocked in capacity for language, music appears to serve as a lubricant or penetrant, freeing up the pathways and returning the Self to familiar terms. Frequently, this capacity of music holds while the person listens to music or plays an instrument or dances along with music, and that freeing influence dissolves once disengaging with the music, though occasionally the effects persist for a short time after.
I find these Sacks essays complementary to Erich Kandel's work on perception and visual art, The Age of Insight, though again without the summative attempt that Kandel provides there. show less
Sacks remarks at various points that while general theories of the neurological basis of musicality might be expected, little research has been published nor models widely recognized, and reference works largely omitted music from the index. Sacks organizes his show more material not after any recognised subdisciplines (assuming there are any such), but to fit his vignettes and personal interests. After noting the human capacity for perceiving and enjoying music is as much a universal characteristic of the species as is language, nevertheless our musicality "is vulnerable to various distortions, excesses, and breakdowns" [xiii] and his essays focus not so much on the loss of musicality (aka amusia) as on those aberrations.
I - Haunted by Music
musical imagery may become excessive and uncontrollable [xiii]
II - A Range of Musicality
musicality comprises a great range of skills and receptivities ... and that in principle, all of these are dissociable one from another [104]
III - Memory, Movement, and Music
music ... may be especially powerful and have great therapeutic potential for patients with a variety of neurological conditions [xiii]
IV - Emotion, Identity, and Music
As music seems to resist or survive the distortion of dreams or of parkinsonism, or the losses of amnesia or Alzheimer's, so it may resist the distortions of psychosis and be able to penetrate the deepest states of melancholia or madness, sometimes when nothing else can [332]
Each section includes multiple stories of specific people, each illustrating a changed or persistent appreciation of music during atypical neurological states. Sacks provides little detail on level of neurons or areas of brain, more detail on responses to music in various situations / physiomental circumstances. What's clear is that music either works through different neural pathways than language, or conceivably at times operates via the same pathways but in a different manner, such that when a person appears blocked in capacity for language, music appears to serve as a lubricant or penetrant, freeing up the pathways and returning the Self to familiar terms. Frequently, this capacity of music holds while the person listens to music or plays an instrument or dances along with music, and that freeing influence dissolves once disengaging with the music, though occasionally the effects persist for a short time after.
I find these Sacks essays complementary to Erich Kandel's work on perception and visual art, The Age of Insight, though again without the summative attempt that Kandel provides there. show less
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The gentle doctor turns his pen to another set of mental anomalies that can be viewed as either affliction or gift.
If we could prescribe what our physicians would be like, a good number of us would probably choose somebody like Sacks (Uncle Tungsten: Memories of a Chemical Boyhood, 2001, etc.). Learned, endlessly inquisitive and seemingly possessed of a bottomless store of human compassion, show more the neurologist’s authorial personality both reassures and arouses curiosity. Here, Sacks tackles the whole spectrum of the human body’s experience of music by studying it from the aesthetic as well as medical viewpoint. Fantastical case studies include a young boy assaulted by musical hallucinations who would shout “Take it out of my head! Take it away!” when music only he could hear became unbearably loud. Less frightening are stories about people like Martin, a severely disabled man who committed some 2,000 operas to memory, or ruminations on the linkage between perfect pitch and language: Young children learning music are vastly more likely to have perfect pitch if they speak Mandarin than almost any other language. .. show less
If we could prescribe what our physicians would be like, a good number of us would probably choose somebody like Sacks (Uncle Tungsten: Memories of a Chemical Boyhood, 2001, etc.). Learned, endlessly inquisitive and seemingly possessed of a bottomless store of human compassion, show more the neurologist’s authorial personality both reassures and arouses curiosity. Here, Sacks tackles the whole spectrum of the human body’s experience of music by studying it from the aesthetic as well as medical viewpoint. Fantastical case studies include a young boy assaulted by musical hallucinations who would shout “Take it out of my head! Take it away!” when music only he could hear became unbearably loud. Less frightening are stories about people like Martin, a severely disabled man who committed some 2,000 operas to memory, or ruminations on the linkage between perfect pitch and language: Young children learning music are vastly more likely to have perfect pitch if they speak Mandarin than almost any other language. .. show less
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Author Information
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Oliver Sacks was born in London, England on July 9, 1933. He received a medical degree from Queen's College, Oxford University and performed his internship at Middlesex Hospital in London and Mount Zion Hospital in San Francisco. He completed his residency at UCLA. In 1965, he became a clinical neurologist to the Little Sisters of the Poor and show more Beth Abraham Hospital. His work in a Bronx charity hospital led him to write the book Awakenings in 1973. The book inspired a play by Harold Pinter and became a film starring Robert De Niro and Robin Williams. His other works included An Anthropologist on Mars, The Mind's Eye, The Man Who Mistook His Wife for a Hat, Uncle Tungsten, Musicophilia, A Leg to Stand On, On the Move: A Life, and Gratitude. In 2007, he ended his 42-year relationship with the Albert Einstein College of Medicine to accept an interdisciplinary teaching position at Columbia. In 2012, he returned to the New York University School of Medicine as a professor of neurology. He died of cancer on August 30, 2015 at the age of 82. (Bowker Author Biography) show less
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Common Knowledge
- Canonical title*
- Musicophilia : La musique, le cerveau et nous
- Original title
- Musicophilia, Tales of Music and the Brain
- Original publication date
- 2007-10-16
- People/Characters
- Johann Sebastian Bach; Ludwig van Beethoven; Ursula Belluga; Frédéric Chopin; Wolfgang Amadeus Mozart
- Dedication
- For Orrin Devinsky, Ralph Siegel, and Connie Tomaino
- First words
- Preface
What an odd thing it is to see an entire species—billions of people—playing with, listening to, meaningless tonal patterns, occupied and preoccupied for much of their time by what they call "music."
Tony Cicoria was forty-two, very fit and robust, a former college football player who had become a well-regarded orthopedic surgeon in a small city in upstate New York. - Last words
- (Click to show. Warning: May contain spoilers.)Music is no luxury to them, but a necessity, and can have a power beyond anything else to restore them to themselves, and to others, at least for a while.
- Blurbers
- Coleman, Mark; Gottlieb, Anthony; Berger, Kevin; Druckenbrod, Andrew
- Original language
- English
*Some information comes from Common Knowledge in other languages. Click "Edit" for more information.
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- 781.11 — Arts & recreation Music General principles and musical forms Basic principles of music Psychological principles of music
- LCC
- ML3830 .S13 — Music Literature on music Literature on music Philosophical and societal aspects of music. Physics Psychology
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