What goes on in human beings when they make or listen to music? What is it about music, what gives it such peculiar power over us, power delectable and beneficent for the most part, but also capable of uncontrollable and sometimes destructive force? Music has no concepts, it lacks images; it has no power of representation, it has no relation to the world. And yet it is evident in all of us–we tap our feet, we keep time, hum, sing, conduct music, mirror the melodic contours and feelings of what we hear in our movements and expressions. In this book, Oliver Sacks explores the power music wields over us–a power that sometimes we control and at other times don’t. He explores, in his inimitable fashion, how it can provide access to otherwise unreachable emotional states, how it can revivify neurological avenues that have been frozen, evoke memories of earlier, lost events or states or bring those with neurological disorders back to a time when the world was much richer. This is a book that explores, like no other, the myriad dimensions of our experience of and with music.

Revised and Expanded With the same trademark compassion and erudition he brought to The Man Who Mistook His Wife for a Hat, Oliver Sacks explores the place music occupies in the brain and how it affects the human condition. In Musicophilia, he shows us a variety of what he calls “musical misalignments.” Among them: a man struck by lightning who suddenly desires to become a pianist at the age of forty-two; an entire group of children with Williams syndrome, who are hypermusical from birth; people with “amusia,” to whom a symphony sounds like the clattering of pots and pans; and a man whose memory spans only seven seconds-for everything but music. Illuminating, inspiring, and utterly unforgettable, Musicophilia is Oliver Sacks' latest masterpiece.

Revised and Expanded With the same trademark compassion and erudition he brought to The Man Who Mistook His Wife for a Hat, Oliver Sacks explores the place music occupies in the brain and how it affects the human condition. In Musicophilia, he shows us a variety of what he calls “musical misalignments.” Among them: a man struck by lightning who suddenly desires to become a pianist at the age of forty-two; an entire group of children with Williams syndrome, who are hypermusical from birth; people with “amusia,” to whom a symphony sounds like the clattering of pots and pans; and a man whose memory spans only seven seconds-for everything but music. Illuminating, inspiring, and utterly unforgettable, Musicophilia is Oliver Sacks' latest masterpiece.

Explores neurological disorders and their effects upon the minds and lives of those affected with an entertaining voice.

Music and the Brain: Studies in the Neurology of Music is a collaborative work that discusses musical perception in the context of medical science. The book is comprised of 24 chapters that are organized into two parts. The first part of the text details the various aspects of nervous function involved in musical activity, which include neural and mechanicals aspects of singing; neurophysiological interpretation of musical ability; and ecstatic and synesthetic experiences during musical perception. The second part deals with the effects of nervous disease on musical function, such as musicogenic epilepsy, the amusias, and occupational palsies. The book will be of great interest to students, researchers, and practitioners of disciplines that deal with the nervous system, such as psychology, neurology, and psychiatry.

In The Mind’s Eye, Oliver Sacks tells the stories of people who are able to navigate the world and communicate with others despite losing what many of us consider indispensable senses and abilities: the power of speech, the capacity to recognize faces, the sense of three-dimensional space, the ability to read, the sense of sight. For all of these people, the challenge is to adapt to a radically new way of being in the world. There is Lilian, a concert pianist who becomes unable to read music and is eventually unable even to recognize everyday objects, and Sue, a neurobiologist who has never seen in three dimensions, until she suddenly acquires stereoscopic vision in her fifties. There is Pat, who reinvents herself as a loving grandmother and active member of her community, despite the fact that she has aphasia and cannot utter a sentence, and Howard, a prolific novelist who must find a way to continue his life as a writer even after a stroke destroys his ability to read. And there is Dr. Sacks himself, who tells the story of his own eye cancer and the bizarre and disconcerting effects of losing vision to one side. Sacks explores some very strange paradoxes—people who can see perfectly well but cannot recognize their own children, and blind people who become hyper-visual or who navigate by “tongue vision.” He also considers more fundamental questions: How do we see? How do we think? How important is internal imagery—or vision, for that matter? Why is it that, although writing is only five thousand years old, humans have a universal, seemingly innate, potential for reading? The Mind’s Eye is a testament to the complexity of vision and the brain and to the power of creativity and adaptation. And it provides a whole new perspective on the power of language and communication, as we try to imagine what it is to see with another person’s eyes, or another person’s mind.

With the advent of modern cognitive neuroscience and new tools of studying the human brain "live," music as a highly complex, temporally ordered and rule-based sensory language quickly became a fascinating topic of study. The question of "how" music moves us, stimulates our thoughts, feelings, and kinesthetic sense, and how it can reach the human experience in profound ways is now measured with the advent of modern cognitive neuroscience. The goal of Rhythm, Music and the Brain is an attempt to bring the knowledge of the arts and the sciences and review our current state of study about the brain and music, specifically rhythm. The author provides a thorough examination of the current state of research, including the biomedical applications of neurological music therapy in sensorimotor speech and cognitive rehabilitation. This book will be of interest for the lay and professional reader in the sciences and arts as well as the professionals in the fields of neuroscientific research, medicine, and rehabilitation.