PDF-Bücher Musicophilia: Tales of Music and the Brain (Vintage)
PDF-Bücher Musicophilia: Tales of Music and the Brain (Vintage)
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Musicophilia: Tales of Music and the Brain (Vintage)
PDF-Bücher Musicophilia: Tales of Music and the Brain (Vintage)
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Pressestimmen
“Powerful and compassionate. . . . A book that not only contributes to our understanding of the elusive magic of music but also illuminates the strange workings, and misfirings, of the human mind.” —The New York Times“Curious, cultured, caring. . . . Musicophilia allows readers to join Sacks where he is most alive, amid melodies and with his patients.” —The Washington Post Book World“Sacks has an expert bedside manner: informed but humble, self-questioning, literary without being self-conscious.”—Los Angeles Times“Sacks spins one fascinating tale after another to show what happens when music and the brain mix it up.” —Newsweek“Sacks once again examines the many mysteries of a fascinating subject.” —The Seattle Times
Über den Autor und weitere Mitwirkende
Oliver Sacks was a physician, writer, and professor of neurology. Born in London in 1933, he moved to New York City in 1965, where he launched his medical career and began writing case studies of his patients. Called the “poet laureate of medicine” by The New York Times, Sacks is the author of more than a dozen books, including The Man Who Mistook His Wife for a Hat, Musicophilia, and Awakenings, which inspired an Oscar-nominated film and a play by Harold Pinter. He was the recipient of many awards and honorary degrees, and was made a Commander of the British Empire in 2008 for services to medicine. He died in 2015.www.oliversacks.com
Alle Produktbeschreibungen
Produktinformation
Taschenbuch: 448 Seiten
Verlag: Vintage; Auflage: Trade Paperback (23. September 2008)
Sprache: Englisch
ISBN-10: 1400033535
ISBN-13: 978-1400033539
Größe und/oder Gewicht:
13,2 x 2,9 x 20,3 cm
Durchschnittliche Kundenbewertung:
4.8 von 5 Sternen
7 Kundenrezensionen
Amazon Bestseller-Rang:
Nr. 44.403 in Fremdsprachige Bücher (Siehe Top 100 in Fremdsprachige Bücher)
Wie immer bei Sacks ist das Buch hervorragend geschrieben und leicht zu lesen. Wer sich für Musik interessiert, wird erstaunt feststellen, dass die verschiedenen Elemente von Musik wie Rhythmus, Melodie, Harmonie, Tonhöhe, Ausdruck u.s.w. jeweils einzeln im Gehirn verdrahtet werden und einzeln verloren werden können. Auch über Musik als Therapie für schwer Hirngeschädigte erfährt man viel.Kurzum: Wer Musik macht odder gerne hört, sollte sich trauen und dieses hervorragendenBuch, das wohl auch in deutscher Übersetzung zu haben ist, unbedingt lesen.
Die Bücher von Oliver Sachs sind für mich etwas besonders. Man muss es langsam lesen aber ich finde es wunderbar. Inzwischenhabe ich es 3 mal gekauft und verschenkt
From the seller : Preis/Gute Beschreibung/günstige Post GebühreThe book arrived in very good conditio within the predicted time.Content is great!Vielen Dank!
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. Some music therapy has been in use to overcome coordination disorders, but this is limited and selective in effectiveness. Even "classical" music, which is known to "draw the mind" into it is not innocent in causing disorders. One of the more captivating classical pieces, Ravel's "Bolero" may be both the product of "musicophilia" in an aging composer and the source of endless reptition in the mind of the listener. The tendency of the mind to retain music is demonstrated in those with advanced Alzheimer's, who lose other facilities but retain a sense for music. Is music thus something the brain holds on to as something reliable in an otherwise confusing world? Brain scans have demonstrated that professional musicians have certain areas of the brain larger than the rest of us, but as a path to therapy, this situation has offered little up to now.The author's avoidance of simply presenting a string of clinical studies is a testament to his humanitarian approach to the various conditions he lists here. In a sense, this book is a catalog of distortions the mind may be subject to relating to music. In one case, a lightning strike turns an orthopaedic surgeon into a classical pianist. Another suffers massive brain damage, yet continues a relatively normal life so long as he can arrange things in musical forms. Others may respond positively to prompts of classical themes, while becoming emotionally distraught at modern forms. Listing the cases in such a way leaves the impression that one might as well be perusing a medical journal. In Sacks' hands, nothing could be further from the truth. He is passionate in his relating these conditions, his feelings permeating every page. A book well worth your time, whether you are intersted in music, the mind or how they combine in the minds of people you may know. [stephen a. haines - Ottawa, Canada]
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. Today, we can map the brain's activation in order to get clues about why certain behaviors are possible. That final perspective adds a lot to the case histories.If you are like me, you'll find some of the cases to be heart-wrenching. I was comforted a bit to realize that music made those sad lives better so there's reason to rejoice in that sense.So what was my big personal discovery? When I listen to classical music of any kind, I can choreograph a ballet along with costumes, sets, and props to go along with the music that I see in color when I close my eyes . . . even if the music has never been used for ballet. I didn't realize that others usually don't do that. What a wonder!
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