Free Ebook This Is Your Brain on Music: The Science of a Human Obsession
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This Is Your Brain on Music: The Science of a Human Obsession
Free Ebook This Is Your Brain on Music: The Science of a Human Obsession
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Audible Audiobook
Listening Length: 6 hours and 10 minutes
Program Type: Audiobook
Version: Abridged
Publisher: Penguin Audio
Audible.com Release Date: August 3, 2007
Language: English
ASIN: B000V7YYTU
Amazon Best Sellers Rank:
And fails. Two main problems:1) Levitin can't write worth a darn: inelegant, disorganized (both on the larger scale and in things like dividing his prose into paragraphs) and sloppy. I keep hearing about how the publishing industry has largely stopped editing books and I think this is a case in point. Simply editing and asking for re-writes might have substantially improved Levitin's lazy effort. The author also name-drops like crazy, plopping in the names (and university affiliations - like who cares?) of his scientific researchers for no reason frequently throughout the book. This is a popularization of a scientific field so of course researchers conducting studies on specific subjects should be discussed. But Levitin instead swerves from one (vapid) anecdote to another with no structure or objective in sight and no organized discussion of a particular researcher or research school's motivating idea or aim. The most painful example of these instances is his lunch with Francis Crick - the point of that extended anecdote seems to be that Levitin met a world-famous scientist. Good for you, Dan.2) I would conclude from this book that psychological research into musical perception has yielded no interesting results, not even any moderately interesting ones. Now "Your brain on music" occasionally perked my interest here and there. But on those occasions, Levitin doesn't explain research results and instead makes critical observations about music that aren't reliant on psychology. I'm frankly not sure whether music psychology deserves better than this - maybe it has yielded fascinating insights into the mind. But you wouldn't know it from this work.Poor content, poor style, poor effort.
A lot of people are hating on this book, and it tends to be people who are either highly opinionated, went in exacting some revolutionary read, or are allegedly more educated than the author.This a fantastic book, if for nothing more than it gets you interested in wanting to read more. The author, much like modern astrophysicists like C. Sagan and L. Krauss might describe space ("billions and billions..."), has quite a way with words. He embeds in the reader a sense of wonder, and of amazement, at the magic that happens when you listen to music. If you're an audiophile who does not have an over inflated view of yourself and has a generally open mind about music, then this book is for you. I am not educated in this field whatsoever, and I found the analogies, comparisons, and even the really "dense" material very enticing and interesting.I cannot vouch for the accuracy of the statements and claims the author makes because I am not educated in this field. He could be completely wrong and pushing his own agenda (although it's a little hard to arrive at that conclusion unless you have some sort of raging superiority complex). But that kind of conversation, which fills many of the lower rated reviews, is missing the point.The language, the examples, the ranges of simple description to complicated extrapolation, it is all nourishing. These are interesting things to think about. And for a layman like myself, the point is not to be right, but to be interested. After reading this book, I don't care if he's right (although I doubt his inaccuracies, if any, surmount to much). I just care that he made me think about music in a new and interesting way.And for the average reader like myself, that is all you should want from a book like this.
This is sn excellent, well-written book on a topic that deserves more attention—the interaction between human brains and music, as informed by science. This is the most current book on this topic as I write. The second-most-recent book is 20 years older, and at the present rate of advance in brain science, that is a long time. Other reviewers have complained that the author drops too many names. I disagree. His first career, before he went back to school and got his Ph.D, was as a recording engineer. It is not name-dropping when you know famed singer-songwriter Joni Mitchell on a first-name basis, have discussed musical details of recording her while doing it, and then have later interviewed her about relevant topics in this book. This is by no means the only such useful example this unusual writer provides. The book does have an uneven feel to it in some spots, because it slows down to take you, like a fly on the wall, to unexpected places, but these are worth going to. I happen to know the science of some of what Levitin discusses, as I worked in computer speech recognition for five years, built two labs, and have a couple of published papers from that work. On what I know, Levitin is spot-on accurate. He also provides thorough notes and references if you want to dig deeper. But he also is a very good explainer, which I really appreciated when he discussed music. All in all this is a fine introduction. If it has any weakness, it is that he does not try to organize and categorize as much as he could have, but he WILL keep you reading!
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