Product Description

In this groundbreaking union of art and science, rocker-turned-neuroscientist Daniel J. Levitin explores the connection between music—its performance, its composition, how we listen to it, why we enjoy it—and the human brain. Drawing on the latest research and on musical examples ranging from Mozart to Duke Ellington to Van Halen, Levitin reveals:
• How composers produce some of the most pleasurable effects of listening to music by exploiting the way our brains make sense of the world
• Why we are so emotionally attached to the music we listened to as teenagers, whether it was Fleetwood Mac, U2, or Dr. Dre
• That practice, rather than talent, is the driving force behind musical expertise
• How those insidious little jingles (called earworms) get stuck in our heads

And, taking on prominent thinkers who argue that music is nothing more than an evolutionary accident, Levitin argues that music is fundamental to our species, perhaps even more so than language. This Is Your Brain on Music is an unprecedented, eye-opening investigation into an obsession at the heart of human nature.

Product Details

• Amazon Sales Rank: #1155 in Books
• Published on: 2007-08-28
• Original language: English
• Number of items: 1
• Binding: Paperback
• 322 pages

From Publishers Weekly
Starred Review. Think of a song that resonates deep down in your being. Now imagine sitting down with someone who was there when the song was recorded and can tell you how that series of sounds was committed to tape, and who can also explain why that particular combination of rhythms, timbres and pitches has lodged in your memory, making your pulse race and your heart swell every time you hear it. Remarkably, Levitin does all this and more, interrogating the basic nature of hearing and of music making (this is likely the only book whose jacket sports blurbs from both Oliver Sacks and Stevie Wonder), without losing an affectionate appreciation for the songs he's reducing to neural impulses. Levitin is the ideal guide to this material: he enjoyed a successful career as a rock musician and studio producer before turning to cognitive neuroscience, earning a Ph.D. and becoming a top researcher into how our brains interpret music. Though the book starts off a little dryly (the first chapter is a crash course in music theory), Levitin's snappy prose and relaxed style quickly win one over and will leave readers thinking about the contents of their iPods in an entirely new way. (Aug.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From School Library Journal
Adult/High School–Levitin's fascination with the mystery of music and the study of why it affects us so deeply is at the heart of this book. In a real sense, the author is a rock 'n' roll doctor, and in that guise dissects our relationship with music. He points out that bone flutes are among the oldest of human artifacts to have been found and takes readers on a tour of our bio-history. In this textbook for those who don't like textbooks, he discusses neurobiology, neuropsychology, cognitive psychology, empirical philosophy, Gestalt psychology, memory theory, categorization theory, neurochemistry, and exemplar theory in relation to music theory and history in a manner that will draw in teens. A wonderful introduction to the science of one of the arts that make us human.–Will Marston, Berkeley Public Library, CA
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Scientific American
Everyone knows that music can calm a savage beast, rouse a marching platoon or move lovers to tears. But no one knows exactly how. Daniel Levitin, a professional musician, record producer and now neuroscientist at McGill University, explains the latest thinking into why tunes touch us so deeply. He also speculates about whether specific pathways have evolved in our brain for making and listening to music. Using brain imaging, Levitin has documented neural activation in people as they listen to music, revealing a novel cascade of excitation that begins in the auditory system and spreads to regions related to planning, expectation and language as well as arousal, pleasure, mood and rhythmic movement. "Music listening, performance and composition engage nearly every area of the brain that we have so far identifi ed and involve nearly every neural subsystem," he notes. Music’s effects on neurons are so distributed that in some cases stroke victims who can no longer decipher letters can still read music, and some impaired individuals who cannot button a sweater can nevertheless play the piano. Levitin describes new insights into these conditions as well as disorders that cause certain individuals to lack empathy, emotional perception and musicality. He and others suspect a cluster of genes may influence both outgoingness and music ability. He also posits that music promotes cognitive development. Not surprisingly, music reaches deep into the brain’s most primitive structures—including our ancient "reptilian brain" tied to motivation, reward and emotion. Music elevates dopamine levels in the brain’s mood and pleasure centers in ways similar to those triggered by narcotics and antidepressants. Levitin also explains how the neural underpinnings of auditory stimulation and mate selection reach far back in life’s evolutionary scheme. Levitin has no agenda per se, although the book is a rebuttal of sorts to scientists who say music has served no purpose other than to pleasurably stimulate auditory nerve endings. He simply explains an emerging view about the coevolution of music and the brain. To tell his tale, Levitin engagingly weaves together strands of his own life as a professional musician (who dropped out of college to form a band) with those of his transformation into a neuroscientist. To revel in Ra vel’s Boléro or Charlie Parker’s Koko, he reminds us, is to stimulate the brain in a "choreography of neurochemical release and uptake between logical prediction systems and emotional reward systems"—a ballet of brain regions "ex quisitely orchestrated."

Richard Lipkin

Customer Reviews

A different perspective
In the first chapter, he made some statements about music that I know to be wrong, so I was tempted to quit, but I thought that perhaps he may still have something interesting to say--I think of the difference between a "satellite view" map and a "street view" map. He has had many interesting things to say, and I am even suspicious that his "errors" at the beginning were an intentional simplification. Even though written for the "layman," it's still pretty heavy reading--and much more focused on the brain's processes than on how music works.
A bit heavy on name-dropping (he started out as a producer), and more "don't know what's happening here" than I hoped for (but I appreciate the honesty). Interesting--but perhaps specialized: it could easily be a different book than you're expecting.

One of the best books you can find on the science of music!
This book was found, as many of my great finds, on the shelves of a used-book store. The book has traveled around in my car with me as I go from school to my job as a voice teacher. It has been loaned out to music professors, and is now very well worn.

I strongly recommend this book for musicians and music lovers alike. It is beautifully written in a way that nearly anyone can understand, with common examples of music from classical to popular music styles.

An excellent introduction into the technical side of how the brain processes music.

Great Book
The story about Petr Janata and the barn owls is worth the price of the book alone.

Thanks for a great resource Mr. Levitin.