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Musicophilia: Tales of Music and the Brain Paperback – 2008

4.1 out of 5 stars 10 customer reviews

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Product Details

  • Paperback
  • Publisher: Vintage; Revised & enlarged edition (2008)
  • Language: English
  • ISBN-10: 1400033535
  • ISBN-13: 978-1400033539
  • Product Dimensions: 13.2 x 2.8 x 20.2 cm
  • Shipping Weight: 476 g
  • Average Customer Review: 4.1 out of 5 stars 10 customer reviews
  • Amazon Bestsellers Rank: #1,051,717 in Books (See Top 100 in Books)
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Product Description

From Publishers Weekly

Neurologist and professor Sacks, best known for his books Awakenings and The Man Who Mistook His Wife for a Hat, dedicates his latest effort to the relationship between music and unusual brain disorders. Embracing the notion that neurology is an inherently British phenomenon, foreign to the New World, Sacks's book is read by impeccably polished actor Prebble (PW's 2006 Narrator of the Year). As befitting so urbane and smooth a reader, Prebble sounds as if his shirt had just been starched and his lab coat carefully pressed before beginning. With nary a word out of place, Prebble steps onto the stage, playing the good Dr. Sacks for this one-time-only performance. Simultaneous release with the Knopf hardcover (Reviews, Aug. 27).
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved. --This text refers to an alternate Paperback edition.


“Dr. Sacks writes not just as a doctor and a scientist but also as a humanist with a philosophical and literary bent. . . [his] book not only contributes to our understanding of the elusive magic of music but also illuminates the strange workings, and misfirings, of the human mind.”
–Michiko Kakutani, The New York Times
“Oliver Sacks turns his formidable attention to music and the brain . . . 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.”
American Scholar

“Curious, cultured, caring, in his person Sacks justifies the medical profession and, one is tempted to say, the human race . . . Sacks is, in short, the ideal exponent of the view that responsiveness to music is intrinsic to our makeup. He is also the ideal guide to the territory he covers. Musicophilia allows readers to join Sacks where he is most alive, amid melodies and with his patients.”
–Peter D. Kramer, The Washington Post

“Readers will be grateful that Sacks . . . is happy to revel in phenomena that he cannot yet explain.”
The New York Times Book Review

“The persuasive essays about composers, patients, savants, and ordinary people . . . offer captivating variations on the central premise that human beings are ‘exquisitely tuned’ to the illuminating yet ultimately mysterious powers of music.”

“With the exception of Lewis Thomas, no physician has ever written better about his trade.”

“A gifted writer and a neurologist, Sacks spins one fascinating tale after another to show what happens when music and the brain mix it up.”

From the Hardcover edition. --This text refers to an alternate Paperback edition.

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Customer Reviews

4.1 out of 5 stars
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Top Customer Reviews

Format: Hardcover
Musicophilia made me realize how others perceive music. It was a shock. I assumed that everyone experienced music the same way. Wrong!

Do you ever ask anyone what happens when they hear music? I didn't before I read this book. Now I plan to ask everyone.

Dr. Sacks has the kind of fine writing style and awareness of music that makes his tales seem as appealing as the cases that Dr. Sigmund Freud wrote about. As Dr. Sacks pointed out, Dr. Freud didn't care for music so that gentleman failed to investigate and report on many of the phenomena in this book.

We don't exactly know why the mind and body interact with music in the ways that they do. Part is undoubtedly heredity. Part is undoubtedly due to exposure to musical influences. Some may relate to the language spoken in the home. Difficulties with seeing may also be an influence. Injuries to the body and brain can play a large role. Dr. Sacks does a masterly job of using case after case to explore one aspect or another of these dimensions so that a complex picture emerges that's even more remarkable than the brain processes involved in reading.

One of the biggest surprises in the book is that musical talent seems to be inhibited by some parts of the brain. In similar way, music can also inhibit some other brain functions that we would like to get rid of.

I had always wondered about those with perfect pitch, and the book explores that. There are also wonderful sections on other seemingly inherited musical abilities.

Dr. Sacks adds a lot of perspective to the history of music by making observations about various composers and the way that their compositions reflect certain musical abilities than others while explaining how the mental processes are different.
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Format: Hardcover
By now, it's a given that an Oliver Sacks' book is worth your time and close attention. His particular talent lies in making the science interesting without becoming a "pop-science" writer. This is not an easy achievement, but Sacks manages it with facility. He can explain the science in terms of case studies - many of which have claimed his medical attention. He does this while mixing in experiences of his own and some personal reflections which are anything but intrusions. While some of his books are essays on selected individuals ["An Anthropologist on Mars" is an example], this one has a very special focus: the minds that make music unbidden.

Music arising in the mind without prompting may seem a common enough occurence. The advertising industry has demonstated fully music as an uncontrollable meme. The cases Sacks portrays here are of another sort. In some cases the music has taken over - sometimes supplanting other thinking processes and reducing the victim to near helplessness. The chief problem is often a lack of variety. More than the adverts' jingles, particular tunes may emerge from the distant past to occupy the sufferer's waking hours. A well-disciplined mind, such as Doctor P's, may be able to use the uncalled for music in ways that get them through daily tasks. Others don't have that ability and the music proves a terrible distraction. The music renders them "incapable of hearing themselves think".

Therapy for such conditions is in its infancy and may actually be subverted by the deluge of music impinging our ears daily. Sacks notes the proliferation of the iPod devices bringing music to listeners who seem to pass the day in another realm. This, however, is not relieving a condition, but may be generating a new one.
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Format: Hardcover
Although this admission may make me a "bad" psychology student, it has to be said: I previously gave up on Oliver Sacks because I found his writing style boring, self-involved, and far too crammed with technical neurological terminology that lacked the detailed explanation that would allow those unfamiliar with brain physiology to follow. I generally prefer, for example, the work of Dawkins and Ramachandran, who always seemed to me to be able to balance the perfect ratio of the subjective and the objective, even when discussing phenomena that most humans would find surreal or supernatural. Despite my hesitations, I decided to read Musicophilia because its content deeply interested me, and I'm glad I did.

Although Sacks again re-uses many of his old case studies, now relating them to music, and still cites his own books and experiences more than anyone else's, he finally struck that chord of interest in me that had been strangely absent when reading his other work. Musicophilia is a highly intriguing exploration of how and why humans experience the many strange phenomena associated with what we call music, from the perspectives of both clinically normal and brain-damaged individuals. For example, where do auditory hallucinations come from and what do they mean? What occurs when we cannot get a song "out of our heads"? How is it that the most severely amnesic man in the world cannot even remember that he had been conscious one minute before, but can play from memory complicated piano pieces or conduct an orchestra?
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