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If you have an interest in how the brain works, and you like music, you'll enjoy this book. The author gives some great vocabulary to the lay person to help to describe music in precise terms without getting too technical. The book walks through the interaction between music and the brain functions and explores some of the ideas that are current in musico-neurophysiology. He spends the last chapter or so of the book on the evolutionary basis of music-brain interaction, which seems out of place in an otherwise cohesive study.
14 of 14 people found this review helpful
I advice a core group of musicians and people whose livelihood depend on music to view this book as compulsory. Orchestral composers and conductors, program directors and any student of music all should add this book to their cart and buy it NOW! The information this book contains is simply too foundational and new to pass up.
As a critique of the book, there are two general ways in which I perceive this book. First, it is a very intricate review of how our brains process music. I have a general interest in the neurology of psychology and Daniel Levitin proves to be very informative, thus making his book interesting to me. On the flip side of this (my second perception), the presentation is dry. It reminds me of the book "Getting to Yes" (Fisher, Ury & Patton) in that it is good information delivered in nearly monolithically by a narrator. I feel like I am having information downloaded into my thinking brain while my emotional brain is ignoring everything said. Where as Stephen Covey's "The 8th Habit" is read by Stephen Covey, himself, with complete sincerity and from his heart, "This is Your Brain on Music" is tough to listen to considering the intricate details and monotone narrator.
Last, considering the topic, music, I think Levitin had a perfect opportunity to go much further using this audio book as a tool. While there are simple examples of music to support points that Levintin is making, not once when he mentions an actual song does he then play the actual recording of the song on the audio tape. Yes, there are legal recording ownership rights that Levintin would have to negotiate in order to play song recordings on this audio book, but it would have enhanced the book tremendously. Additionally, when speaking about tone and tambour, examples rapidly inserted at the referenced points in the book would have helped. To be fair, I should mention that I am the executive producer of a radio program; I am sensitive to these quality issues.
34 of 36 people found this review helpful