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NATIONAL BESTSELLER • 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. “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 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.
NATIONAL BESTSELLER • 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. “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 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.
En raison de restrictions imposées par l'éditeur, la bibliothèque n'est pas en mesure d'acheter des exemplaires supplémentaires de ce titre et nous vous présentons toutes nos excuses si la liste d'attente est longue. N'oubliez pas de regarder s'il existe d'autres exemplaires, car d'autres éditions sont peut-être disponibles.
En raison de restrictions imposées par l'éditeur, la bibliothèque n'est pas en mesure d'acheter des exemplaires supplémentaires de ce titre et nous vous présentons toutes nos excuses si la liste d'attente est longue. N'oubliez pas de regarder s'il existe d'autres exemplaires, car d'autres éditions sont peut-être disponibles.
Extraits-
From the bookA Bolt from the Blue: Sudden MusicophiliaTony Cicoria was forty-two, very fit and robust, a former college football player who had become a well-regarded orthopedic surgeon in a small city in upstate New York. He was at a lakeside pavilion for a family gathering one fall afternoon. It was pleasant and breezy, but he noticed a few storm clouds in the distance; it looked like rain.He went to a pay phone outside the pavilion to make a quick call to his mother (this was in 1994, before the age of cell phones). He still remembers every single second of what happened next: "I was talking to my mother on the phone. There was a little bit of rain, thunder in the distance. My mother hung up. The phone was a foot away from where I was standing when I got struck. I remember a flash of light coming out of the phone. It hit me in the face. Next thing I remember, I was flying backwards."Then—he seemed to hesitate before telling me this—"I was flying forwards. Bewildered. I looked around. I saw my own body on the ground. I said to myself, 'Oh shit, I'm dead.' I saw people converging on the body. I saw a woman—she had been standing waiting to use the phone right behind me—position herself over my body, give it CPR. . . . I floated up the stairs—my consciousness came with me. I saw my kids, had the realization that they would be okay. Then I was surrounded by a bluish-white light . . . an enormous feeling of well-being and peace. The highest and lowest points of my life raced by me. No emotion associated with these . . . pure thought, pure ecstasy. I had the perception of accelerating, being drawn up . . . there was speed and direction. Then, as I was saying to myself, 'This is the most glorious feeling I have ever had'—SLAM! I was back."Dr. Cicoria knew he was back in his own body because he had pain—pain from the burns on his face and his left foot, where the electrical charge had entered and exited his body—and, he realized, "only bodies have pain." He wanted to go back, he wanted to tell the woman to stop giving him CPR, to let him go; but it was too late—he was firmly back among the living. After a minute or two, when he could speak, he said, "It's okay—I'm a doctor!" The woman (she turned out to be an intensive-care-unit nurse) replied, "A few minutes ago, you weren't."The police came and wanted to call an ambulance, but Cicoria refused, delirious. They took him home instead ("it seemed to take hours"), where he called his own doctor, a cardiologist. The cardiologist, when he saw him, thought Cicoria must have had a brief cardiac arrest, but could find nothing amiss with examination or EKG. "With these things, you're alive or dead," the cardiologist remarked. He did not feel that Dr. Cicoria would suffer any further consequences of this bizarre accident.Cicoria also consulted a neurologist—he was feeling sluggish (most unusual for him) and having some difficulties with his memory. He found himself forgetting the names of people he knew well. He was examined neurologically, had an EEG and an MRI. Again, nothing seemed amiss.A couple of weeks later, when his energy returned, Dr. Cicoria went back to work. There were still some lingering memory problems—he occasionally forgot the names of rare diseases or surgical procedures—but all his surgical skills were unimpaired. In another two weeks, his memory problems disappeared, and that, he thought, was the end of the matter.What then happened still fills Cicoria with amazement, even now, a dozen years later. Life had returned to normal, seemingly, when "suddenly, over two or three days,...
Au sujet de l’auteur-
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
Critiques-
October 15, 2007 Neurologist and professor Sacks, best known for his books Awakenings and The Man Who Mistook His Wife for a Hat, dedicates his latest effort to the relationship between music and unusual brain disorders. Embracing the notion that neurology is an inherently British phenomenon, foreign to the New World, Sacks's book is read by impeccably polished actor Prebble (PW's 2006 Narrator of the Year). As befitting so urbane and smooth a reader, Prebble sounds as if his shirt had just been starched and his lab coat carefully pressed before beginning. With nary a word out of place, Prebble steps onto the stage, playing the good Dr. Sacks for this one-time-only performance. Simultaneous release with the Knopf hardcover (Reviews, Aug. 27).
August 27, 2007 Sacks is an unparalleled chronicler of modern medicine, and fans of his work will find much to enjoy when he turns his prodigious talent for observation to music and its relationship to the brain. The subtitle aptly frames the book as a series of medical case studies—some in-depth, some abruptly short. The tales themselves range from the relatively mundane (a song that gets stuck on a continuing loop in one's mind) through the uncommon (Tourette's or Parkinson's patients whose symptoms are calmed by particular kinds of music) to the outright startling (a man struck by lightning subsequently developed a newfound passion and talent for the concert piano). In this latest collection, Sacks introduces new and fascinating characters, while also touching on the role of music in some of his classic cases (the man who mistook his wife for a hat makes a brief appearance). Though at times the narrative meanders, drawing connections through juxtaposition while leaving broader theories to be inferred by the reader, the result is greater than the sum of its parts. This book leaves one a little more attuned to the remarkable complexity of human beings, and a bit more conscious of the role of music in our lives.
September 15, 2007 Neurologist Sacks ("The Man Who Mistook His Wife for a Hat") plays pianoe.g., Chopin mazurkasand has treated musicians with brain and peripheral nerve problems. As always, he writes impeccably here but takes on such unusual, highly technical problems of music and medicinee.g., musical hallucinations, cochlear amusia, Tourettes syndromethat readers who dont know a lobe from a sulcus will be challenged. Writing about himself, however, Sacks is wonderful, as in Lamentations: Music and Depression, wherein he talks about how music may lose its power to engage people who are suffering depression after loss; then, suddenly and unexpectedly, music makes contact, releases stifled grief, and restores enthusiasm for life. Better for a general audience are Daniel J. Levitins "This Is Your Brain on Music" and Anthony Storrs "Music and the Mind", both of which are highly regarded by Sacks. This book is best suited to large general collections and those focused on music and neuroscience. [See Prepub Alert, "LJ" 6/1/07.]E. James Lieberman, George Washington Univ. Sch. of Medicine, Washington, DC
Copyright 2007 Library Journal, LLC Used with permission.
September 1, 2007 Music seems to be meaningless, and our love of it inexplicable, but neurologist Sacks, one of the foremost physician-essayists of the day, charmingly argues that music is essential to being human in ways that have only begun to be understood. In many different circumstances, music may arise involuntarily within a person, as attested to by Sacks initial presentation of cases of sudden intense affinity for music and development of musical skills, of so-called brain worms or tunes that automatically repeat within the mind, and of musical seizures and hallucinations. Despite the range of individual experience of music, from amusia, or incomprehension of melody and/or rhythm and/or harmony, to absolute (perfect) pitch to synesthesia (e.g., seeing the colors of tones), it seems from the clinical literature that anyone could have a sudden loss or gain in musicality. Indeed, the seeming universality of musical mental imaging, even in the utterly deaf, has encouraged the therapeutic use of music to treat an ever-increasing number of illnesses, including the results of severe brain damage, congenital retardative conditions, and such degenerative neuropathies as parkinsonism and Alzheimers. Sacks reporting on all of this makes for quite an omnium-gatherum on the main contention that, in essence, musicality is humanity. His customary erudition and fellow-feeling ensure that, no matter how clinical the discussion becomes, it remains, like the music ofMozart, accessible and congenial.(Reprinted with permission of Booklist, copyright 2007, American Library Association.)
The Seattle Times
"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."
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