Product Details

• Amazon Sales Rank: #1792 in Books
• Published on: 2008-05-01
• Binding: Paperback
• 328 pages

David Byrne, Talking Heads
`A dissection of music that inexorably builds to a grand finish... it only deepens the beautiful mystery that is music.'

Oliver Sacks
`Endlessly stimulating.'

Synopsis
This is the first book to offer a comprehensive explanation of how humans experience music and to unravel the mystery of our perennial love affair with it. Using musical examples from Bach to the Beatles, Levitin reveals the role of music in human evolution, shows how our musical preferences begin to form even before we are born and explains why music can offer such an emotional experience.Music is an obsession at the heart of human nature, even more fundamental to our species than language. In "This Is Your Brain On Music" Levitin offers nothing less than a new way to understand it, and its role in human life.

Customer Reviews

This Is Your Brain On Music
'This Is Your Brain On Music' looks at the neuroscience behind listening to and performing music. Although I've read many popular science books and am familiar with the style of writing, I found this to be quite a hard going book at first. The first couple of chapters look at the structure of music and are quite dry to plow though. If you know music theory this will cover familiar ground and if you don't I'm sorry to say that this is a laboured way of gaining that understanding. However after you get through these chapters this books really comes into it's own, with lots of fascinating experiments and facts it starts to pique your interest and you become more engrossed in the points being made. The chapter linking our auditory system to the cerebellum and the associated emotional linkages made for especially interesting reading. Overall this is a interesting read and if you can get past the first hundred pages you are in for some interesting ideas, presented in an engaging and informative way. 3 1/2 - 4 stars.

This is Your Brain Losing Consciousness
The first section of this book is a rough guide to the structure of music. If you know music, you won't need to read it. If you don't know music, I think it'll bore you. Then we get the brain stuff: here's a flat writer trying to be entertaining, dropping in references to Sting, Joni Mitchell, Paul Simon and other, er, contemporary artists. There are some dull arguments - eg how are we able to categorise music so easily when pop bands like the Carpenters use distorted guitars and rock groups, like the Rolling Stones, employ a string section. Who cares?

It's also interesting who he doesn't mention: nothing on Kraftwerk, Stockhausen, very little on techno, dance music, electronica, DJ culture, blip-hop; nothing much on Indian music, next to nothing from Africa. In short he concentrates on rock dinosaurs of the seventies: Paul Simon, Joni Mitchell, Neil Young and, of course, Sting.

Some of the writing verges on the banal, such as this: "It is also important to distinguish celebrity from expertise. The factors that contribute to celebrity could be different from, maybe wholly unrelated to, those that contribute to expertise."

There is very little in this book that opens up new vistas, or shines a light on a dark and dusty corner of music - it's all pretty obvious stuff.

Towards the end of the book we get a quick run through arguments for the importance of music in mate selection. Here's just one: "Far more women want to sleep with rock stars and athletes than marry them." Aside from being asinine (do more women want to sleep with Britney Spears than marry her?) hasn't Levitin been arguing he's talking about music, and not celebrity?

I read a great many pop science books. This has to be one of the worst. Levitin makes a fascinating subject achingly dull. His writing is trite, long-winded, dreary, boring and fatuous. And every time he mentioned Sting I wanted to throw the book across the room. I kept at it hoping it would get better. It doesn't.

I hated this book. I hated it it because it took two weeks of my life away. Finally, to the blurbs: "Endlessly stimulating" writes Oliver Sacks - he should know better; "You'll never hear music in the same way again" says Classic FM magazine.

"Music seems to have a wilful, almost evasive quality, defying simple explanation, so that the more we find out, the more there is to know. Daniel Levitin's book is an eloquent and poetic exploration of this paradox." And guess which pretentious old rock arse gave Levitin's book this high praise?

With a song in our heads
When a rock musician, a sound engineer and a neuroscientist combine their talents to explain how we think about music, it promises to be interesting. When those three individuals are present in one man who also writes well, the result is compelling. With a strong scientific foundation - no little of that from his own work - from which to build, coupled with his production experience, Levitin has launched a new phase in the understanding of how the mind deals with the outside world. In the manner of colours we think we see, sounds are simply vibrations of air until our brain identifies and translates them for us. Without descending into arcane terms for either the brain or music, he skilfully guides us through the process of "music appreciation" - and why we do.

Musicians enter our lives more intimately than almost anybody else. They can inspire us, influence our lives in innumerable ways, and they are available at any time - virtually at our command. We welcome their presence even when we haven't consciously sought them out. Music is always a personal relationship, sometimes very intense, generating emotions perhaps hidden or suppressed. How can the movement of air molecules generate such reactions in us?

In answering that question, Levitin takes the reader on describes the path sound takes from its entry into the ear. Nerve impulses from sound have a number of paths open to them. Widely dispersed areas of the brain process the signals, further triggering a variety of reactions. Much new information about sounds and the brain's reaction to them has come to light in recent years. When the sound is music, the brain actually goes through mathematical calculations to register timbre, pitch and other musical elements. Familiar music activates responses in the brain's temporal lobes, working with the hippocampus to retrieve memories and formulate new, integrated ones. Areas in the brain, particularly the cerebellum, display increased activity when listening to music, far less so when hearing simple or incoherent noise. Recent studies also point out the influence of the cerebellum in emotional response, a find challenging long-held views of that part of the brain's role. Music's generation of feelings is non-specific - we don't necessarily associate it with those around us. When we do take neighbours into account, it generally enhances the feelings - so long as those folks aren't interrupting our listening.

Lest the reader think all this neuroscience is lofty, obscure and "soul destroying" analysis, take heart. Levitin introduces his book with a discussion of "what music can teach us about the brain, what the brain can teach us about music - and what both can teach us about ourselves". The range of music he uses as examples is clear indication of the breadth of his interests and research. At one point, he visits John Pierce, the founder of "psycho-acoustics" who sought the six tunes best exemplifying rock and roll. The choices are illustrative, but Pierce proved more interested in how sound was manipulated by the performers than in the songs. Although the limits of the research preclude detailed analysis of classical pieces, Levitin examines Bach's flute cantatas to explain how variations in sounds stimulate emotional reactions. Mahler's music brought innovation to the symphonic format in ways that made his compositions particularly effective in evoking listener response.

Providing a wealth of information, this book is a treasure. You needn't be a musician or a critic to gain from it. Any listener, and all of us are that irrespective of our "taste" in music, will be impressed by what is going on in our minds when hearing music we adore or which repels us. In fact, even "new" music which may not attract us on first hearing it, can become another trigger for positive emotional response. Read this book and listen to it again. [stephen a. haines - Ottawa, Canada]