The … 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. . “That we have separate and distinct mechanisms for appreciating the structural and the emotional aspects of music is brought home by the wide variety of responses (and even “dissociations”) that people have to music.146 There are many of us who lack some of the perceptual or cognitive abilities to appreciate music but nonetheless enjoy it hugely, and enthusiastically bawl out tunes, sometimes shockingly off-key, in a way that gives us great happiness (though it may make others squirm). Please try againSorry, we failed to record your vote. He cleverly and sympathetically combines heart-warming, sometimes heart-breaking, studies with his encyclopedic knowledge of neurology to create a compelling and compassionate book.

(-- The Overlords, from Arthur C. Clarke's Childhood's End)” In Musicophilia, he examines the powers of music through the individual experiences of patients, musicians, and everyday people–from a man who is struck by lightning and suddenly inspired to become a pianist at the age of forty-two, to an entire group of children with Williams syndrome who are hypermusical from birth; from people with “amusia,” to whom a symphony sounds like the clattering of pots and pans, to a man whose memory spans only seven seconds–for everything but music.Our exquisite sensitivity to music can sometimes go wrong: Sacks explores how catchy tunes can subject us to hours of mental replay, and how a surprising number of people acquire nonstop musical hallucinations that assault them night and day. He played a piano transcription of Bach's "Sheep May Safely Graze," as arranged for piano by Egon Petri. Sacks obviously loves his subject but the publishers should have restrained him a bit. New Everything In Its Place. Something we hope you'll especially enjoy: If you're a seller, Fulfillment by Amazon can help you grow your business. Please try againSorry, we failed to record your vote. “Ucho w liczbach:" A youthful ear can hear ten octaves of sound, spanning a range from about thirty to twelve tousand vibrations a second. The Man Who Mistook His Wife For A Hat: And Other Clinical Tales

There are others with an opposite balance: they may have a good ear, be finely sensitive to the formal nuances of music, but nevertheless do not care for it greatly or consider it a significant part of their lives. Please try againSorry, we failed to record your vote. New The River of Consciousness. Perhaps, therefore, we should not be surprised, should not complain if the balance sometimes shifts too far and our musical sensitivity becomes a vulnerability.” . It can persuade us to buy something, or remind us of our first date. Reviewed in the United Kingdom on September 16, 2015 “Powerful and compassionate.

There is no more extraordinary example of this than Beethoven, who continued to compose (and whose compositions rose to greater and greater heights) years after he had become totally deaf. Its use was forbidden in early ecclesiastical music, and early theorists called it diabolus in musica ("the devil in music"). The case studies amazed me and broke my heart. “There is certainly a universal and unconscious propensity to impose a rhythm even when one hears a series of identical sounds at constant intervals... We tend to hear the sound of a digital clock, for example, as "tick-tock, tick-tock" - even though it is actually "tick tick, tick tick.” We are attracted to repetition, even as adults; we want the stimulus and the reward again and again, and in music we get it. Oliver Sacks writes in a style that anyone can manage to read. . The brain needed to stay incessantly active, and if it was not getting its usual stimulation..., it would create its own stimulation in the form of hallucinations.” My music teacher really likes this book and recommended it to me. I am very disappointed in this purchase and would return it but it was a gift and would be a great nuisance for her to return.Psychologists and musicians alike gather round to hear these tales “At the end of our visit, Fleisher agreed to play something on my piano, a beautiful old 1894 Bechstein concert grand that I had grown up with, my father's piano.

. “Perception is never purely in the present - it has to draw on experience of the past;(...).We all have detailed memories of how things have previously looked and sounded, and these memories are recalled and admixed with every new perception.”

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