| Oliver Sacks; Musicophilia | ||||||||||||
| Book | Page | Topic | ||||||||||
| Sacks; Musicophilia | 0 | Listening to music is not just auditory and emotional, it is motoric as well; "We listen to music with our muscles," as Nietzsche wrote. | ||||||||||
| Sacks; Musicophilia | 32 | Some people can scarcely hold a tune in their heads, and others can hear an entire symphony in their minds with a detail and vividness little short of actual perception. | 32 | |||||||||
| Sacks; Musicophilia | 33 | Sacks's father carried miniature orchestral scores in his pocket and could "play" a musical score vividly in his mind. | 1 | |||||||||
| Sacks; Musicophilia | 33 | Professional musicians possess what most of us would regard as remarkable powers of music neural imagery. | 0 | |||||||||
| Sacks; Musicophilia | 33 | Beethoven continued to compose years after he had become totally deaf. | 0 | |||||||||
| Sacks; Musicophilia | 33 | It is possible that musical imagery is intensified by deafness. With the removal of normal auditory input, the auditory cortex may become hypersensitive, with heightened powers of musical imagery and sometimes even auditory hallucinations. | 0 | |||||||||
| Sacks; Musicophilia | 33 | Some people who become blind may have heightened visual imagery. | 0 | |||||||||
| Sacks; Musicophilia | 33 | Composers of enormously intricate music must employ highly abstract forms of musical thought, such as the intellectual complexity that distinguishes Beethoven's later works. | 0 | |||||||||
| Sacks; Musicophilia | 34 | Imagining music can activate the auditory cortex almost as strongly as listening to it. | 1 | |||||||||
| Sacks; Musicophilia | 34 | Imagining music also stimulates the motor cortex. | 0 | |||||||||
| Sacks; Musicophilia | 35 | One musician put a favorite Mozart disk record on the turntable, listened to it with great pleasure, and then went to turn it over to play the other side -- only to find that he had never played it in the first place. | 1 | |||||||||
| Sacks; Musicophilia | 36 | Deliberate, conscious, voluntary mental imagery involves not only auditory and motor cortex, but regions of the frontal cortex involved in choosing and planning. | 1 | |||||||||
| Sacks; Musicophilia | 41 | Rudolfo Llinás, a neuroscientist at New York University, is especially interested in the interactions of the cortex and the thalamus, which he postulates to underlie consciousness or self, and their interactions with the motor nuclei beneath the cortex, especially the basal ganglia, which he sees as crucial to the production of action patterns. | 5 | |||||||||
| Sacks; Musicophilia | 42 | Musical imagery requires an exceedingly sensitive and refined system for perceiving and remembering music. These systems are as sensitive to stimulation from internal sources -- memories, emotions, associations -- as to external music. A tendency to spontaneous activity and repetition seems to be built into the musical imagery system in a way that has no analog in other perceptual systems. | 1 | |||||||||
| Sacks; Musicophilia | 43 | All of us, to varying degrees, have music in our heads. | 1 | |||||||||
| Sacks; Musicophilia | 44 | Musical image it can become pathological -- a catchy tune -- forcing it to fire repetitive or autonomously as a tic or a seizure. | 1 | |||||||||
| Sacks; Musicophilia | 45 | With incessant repetition, a tune soon loses its charm. | 1 | |||||||||
| Sacks; Musicophilia | 48 | As one woman developed Parkinson's disease, she became subject to repetitive, irritating little melodies or rhythms in her head, to which she compulsively moved her fingers and toes. | 3 | |||||||||
| Sacks; Musicophilia | 48 | Some people with Tourette's syndrome may become hooked by a sound or a word or a noise and repeat it, or echo it, to themselves, for weeks at a time. | 0 | |||||||||
| Sacks; Musicophilia | 49 | Involuntary repetition of movements, sounds, or words tends to occur in people with Tourette's or OCD. | 1 | |||||||||
| Sacks; Musicophilia | 49 | Automatic or compulsive internal repetition of musical phrases is almost universal -- the clearest sign of the overwhelming and at times helpless sensitivity of our brains to music. | 0 | |||||||||
| Sacks; Musicophilia | 51 | There are attributes of musical imagery and musical memory that have no equivalents in the vision, and this may reflect the fundamentally different way in which the brain treats music and vision. | 2 | |||||||||
| Sacks; Musicophilia | 52 | Inherent tendency is to repetition in music. | 1 | |||||||||
| Sacks; Musicophilia | 52 | Our poetry, our ballads, our songs are full of repetition. | 0 | |||||||||
| Sacks; Musicophilia | 52 | Every piece of classical music has its repeat marks or variations on the theme. | 0 | |||||||||
| Sacks; Musicophilia | 53 | Omnipresence of annoyingly catchy tunes, the brainworms that arrive unbidden, catchy tunes that may be nothing more than advertisements for toothpaste, but are neurologically, completely irresistible. | 1 | |||||||||
| Sacks; Musicophilia | 57 | Musical hallucinations are associated with activity in several parts of the brain -- the temporal lobes, the frontal lobes, the basal ganglia, and the cerebellum -- all parts of the brain normally activated in the perception of real music. | 4 | |||||||||
| Sacks; Musicophilia | 60 | Tonal intervals that are the building blocks of music. | 3 | |||||||||
| Sacks; Musicophilia | 66 | Wilder Penfield and his colleagues at the Montréal Neurological Institute had written famously in the 1950s and early 60s of experimental seizures, in which patients with temporal lobe epilepsy might hear old songs or tunes from the past. | 6 | |||||||||
| Sacks; Musicophilia | 66 | Temporal lobe epilepsy is only one of many possible causes of musical hallucination and, indeed, a very rare one. | 0 | |||||||||
| Sacks; Musicophilia | 75 | Tinnitus -- (hissing, like steam coming out of a radiator) (a low humming sound, like the refrigerator or something in the kitchen) | 9 | |||||||||
| Sacks; Musicophilia | 86 | Rodolfo Llinás has written of the incessant activity in the nuclei of the basal ganglia, and how they seem to act is a continuous, random motor pattern noise generator. | 11 | |||||||||
| Sacks; Musicophilia | 86 | Something may start randomly -- a tic, for example, bursting out of overexcited basal ganglia. | 0 | |||||||||
| Sacks; Musicophilia | 86 | Musical hallucinations draw up on the musical experience and memories of a lifetime. | 0 | |||||||||
| Sacks; Musicophilia | 88 | Fragmentary musical patterns may be emitted or released from the basal ganglia as raw music, without any emotional coloring or associations. | 2 | |||||||||
| Sacks; Musicophilia | 106 | After a left hemisphere stroke, a person can develop profound forms of rhythm deafness without tone deafness. | 18 | |||||||||
| Sacks; Musicophilia | 106 | After some right hemisphere strokes, a patient may develop tone deafness without rhythm deafness. | 0 | |||||||||
| Sacks; Musicophilia | 106 | Infants at six months can really detect all rhythmic variations, but by 12 months that range has narrowed, albeit sharpened. | 0 | |||||||||
| Sacks; Musicophilia | 106 | Infants at 12 months can more easily detect types of rhythms to which they have previously been exposed; they learn and internalize a set or rhythms for their culture. | 0 | |||||||||
| Sacks; Musicophilia | 106 | Adults find it harder to perceive "foreign" rhythmic distinctions. | 0 | |||||||||
| Sacks; Musicophilia | 108 | Total amusia -- melodies lose their musical quality, and may acquire a nonmusical, disagreeable character. | 2 | |||||||||
| Sacks; Musicophilia | 109 | Amusia may sometimes be associated with migraine. With a brilliant, scintillating zigzag expanding in half of the visual field, the typical zigzags aura during attacks of migraine, an amusia may be experienced in which music seems to decompose into a disconcerting racket, along with an unpleasant metallic reverberation. | 1 | |||||||||
| Sacks; Musicophilia | 117 | In 1990, Isabelle Peretz and her colleagues in Montréal devised a special battery of tests for evaluating amusia, and they have been able, in many cases, to identify the broad neural correlates of certain types of amusia. | 8 | |||||||||
| Sacks; Musicophilia | 117 | There are two basic categories of musical perception, one involving the recognition of melodies, the other the perception of rhythm or time intervals. | 0 | |||||||||
| Sacks; Musicophilia | 117 | Impairments of melody usually go with the right hemisphere lesions. | 0 | |||||||||
| Sacks; Musicophilia | 117 | Representation of rhythm is widespread and robust and involved not only the left hemisphere, but many subcortical systems in the basal ganglia, the cerebellum, and other areas. | 0 | |||||||||
| Sacks; Musicophilia | 117 | There are many distinctions in musical impairments; some individuals can appreciate rhythm but not meter, and others have the reverse problem. | 0 | |||||||||
| Sacks; Musicophilia | 118 | There may be an impairment of the ability to perceive dissonance (e.g. the discordant sound produced by a major second), something that is normally recognized and reacted to even in infants. | 1 | |||||||||
| Sacks; Musicophilia | 118 | Patients with extensive damage to the parahippocampal cortex were able to judge consonant music to be pleasant, and to judge music as happy or sad, but they did not show the normal response to dissonant music, which they rated as "slightly pleasant." | 0 | |||||||||
| Sacks; Musicophilia | 118 | There can be a partial or total loss of the feeling or emotions normally evoked by music, even though perception of music is unimpaired. | 0 | |||||||||
| Sacks; Musicophilia | 129 | Absolute Pitch | 11 | |||||||||
| Sacks; Musicophilia | 129 | The precision of absolute pitch varies, but it is estimated that most people with it can identify upwards of 70 tones in the middle region of the auditory range, Each of the 70 tones has, for them, a unique and characteristic quality that distinguishes it absolutely from any other note. | 0 | |||||||||
| Sacks; Musicophilia | 131 | When people with absolute pitch hear a familiar piece of music played in the wrong key, they often become agitated or disturbed. | 2 | |||||||||
| Sacks; Musicophilia | 131 | Transposing music from one key to another, though effortless for some musicians, can be difficult for others. | 0 | |||||||||
| Sacks; Musicophilia | 132 | Transposing a piece of music, for someone with absolute pitch, can be analogous to painting a picture with all the wrong colors. | 1 | |||||||||
| Sacks; Musicophilia | 132 | Absolute pitch is not necessarily of much importance even to musicians -- Mozart had it, but Wagner and Schumann lacked it. | 0 | |||||||||
| Sacks; Musicophilia | 135 | Absolute pitch is of special interest because it exemplifies a whole realm of perception of qualia, with a little inherent connection to musicality or anything else, and because it shows how genes and experience can interact in its production. | 3 | |||||||||
| Sacks; Musicophilia | 135 | Among musicians, absolute pitch is commoner in those who have had musical training from an early age. | 0 | |||||||||
| Sacks; Musicophilia | 136 | There is a critical period for the development of absolute pitch, before the age of eight or so -- roughly the same age at which children find it much more difficult to learn the phonemes of another language (and thus to speak a second language with a native accent). | 1 | |||||||||
| Sacks; Musicophilia | 137 | In musicians with absolute pitch, there was an exaggerated asymmetry between the volumes of the left and right planum temporale, structures of the brain that are important for the perception of speech and music. | 1 | |||||||||
| Sacks; Musicophilia | 141 | In 1851, Alfonzo Corti, an Italian physiologist, discovered the complex sensory structure that we now call the organ of Corti, lying on the basilar membrane of the cochlea and containing about 3500 inner hair cells, the ultimate auditory receptors. | 4 | |||||||||
| Sacks; Musicophilia | 144 | In the brain, the cochlea's output, all eight or ten octaves of audible sound, are mapped tonotopically onto the auditory cortex. | 3 | |||||||||
| Sacks; Musicophilia | 177 | Relationship between music and color -- for some people once sensory experience may instantly and automatically provoke another. There is simply an instant conjoining of sensations. | 33 | |||||||||
| Sacks; Musicophilia | 178 | Mental imagery ability of some people to visualize scenes, faces, and so on in vivid, veridical detail. | 1 | |||||||||
| Sacks; Musicophilia | 179 | Patient suddenly became totally colorblind following a head injury. He lost the ability to see or even imagine color. | 1 | |||||||||
| Sacks; Musicophilia | 254 | Music and Movement -- Rhythm | 75 | |||||||||
| Sacks; Musicophilia | 262 | Listening to music or imagining it, even without any overt movement or keeping time, activates motor cortex and subcortical motor systems. The imagination of music, of rhythm, may be as potent, neurally, as actually listening to it. | 8 | |||||||||
| Sacks; Musicophilia | 262 | Keeping time, physically and mentally, depends on interactions between the auditory and the dorsal premotor cortex -- and it is only in the human brain that a functional connection between these two cortical areas exists. Crucially, these sensory and motor activations are precisely integrated with each other. | 0 | |||||||||
| Sacks; Musicophilia | 262 | Rhythm, the integration of sound and movement, can play a great role in coordinating and invigorating basic locomotor movement. | 0 | |||||||||
| Sacks; Musicophilia | 266 | In all societies, a primary function of music is collective and communal, to bring and bind people together. | 4 | |||||||||
| Sacks; Musicophilia | 266 | The collective binding of people is accomplished by rhythm -- not only heard but internalized, identically in all who are present. | 0 | |||||||||
| Sacks; Musicophilia | 266 | Rhythm turns listeners into participants, making listening active and motoric, and synchronizes the brains and minds of all who participate. | 0 | |||||||||
| Sacks; Musicophilia | 266 | It is very difficult to remain detached, to resist being drawn into the rhythm of chanting or dancing. | 0 | |||||||||
| Sacks; Musicophilia | 267 | There is evidence that religious practices began with communal chanting and dancing, often of an ecstatic kind and not infrequently, culminating in states of trance. | 1 | |||||||||
| Sacks; Musicophilia | 267 | The almost irresistible power of rhythm is evident in many contexts -- in marching, it serves both to entrain and coordinate movement and to whip up a collective and perhaps martial excitement. | 0 | |||||||||
| Sacks; Musicophilia | 268 | We see the almost irresistible power of rhythm, not only with military music and war drums, but also with the slow, solemn rhythm of a funeral march. | 1 | |||||||||
| Sacks; Musicophilia | 268 | Rhythm and its entrainment of movement (and often on emotion), may well have had a crucial cultural and economic function in human evolution, bringing people together, producing a sense of collectivity and community. | 0 | |||||||||
| Sacks; Musicophilia | 269 | Neuroscientists sometimes speak of the "binding problem." Binding in the nervous system is accomplished by rapid, synchronized firing of nerve cells in different parts of the brain. | 1 | |||||||||
| Sacks; Musicophilia | 274 | Parkinson's disease is usually called a "movement disorder," though when it is severe it is not only movement that is affected, but the flow of perception, thought, and feeling as well. | 5 | |||||||||
| Sacks; Musicophilia | 274 | In Parkinson's disease there is not a smooth flow of movement, but brokenness, jerkiness, starts and stops. | 0 | |||||||||
| Sacks; Musicophilia | 277 | A fundamental problem in Parkinson's disease is the inability to initiate movement spontaneously; Parkinsonian patients are always getting stuck or "frozen." | 3 | |||||||||
| Sacks; Musicophilia | 279 | While music alone can unlock people with Parkinson's disease, and movement or exercise of any kind is also beneficial, an ideal combination of music and movement is provided by dance. | 2 | |||||||||
| Sacks; Musicophilia | 281 | People with Huntington's disease, who sooner or later develop intellectual and behavioral problems in addition to chorea, may also benefit from dancing -- and indeed, from any activity or sport with a regular rhythm of "kinetic melody." | 2 | |||||||||
| Sacks; Musicophilia | 312 | In the past, the neuroscience of music has concentrated almost exclusively on the neural mechanisms by which we perceive pitch, tonal intervals, melody, and rhythm. Yet music is both emotional and intellectual. | 31 | |||||||||
| Sacks; Musicophilia | 314 | Temporary extinction of emotional response to music can occur after a concussion. | 2 | |||||||||
| Sacks; Musicophilia | 315 | There have been a number of antidotal reports of people who, following strokes, have lost interest in music, finding it emotionally flat, while apparently retaining all of their musical perceptions and skills. | 1 | |||||||||
| Sacks; Musicophilia | 315 | Occasionally there is not so much a complete loss of musical emotion as a change in its valence or direction, so that music that previously delighted may now arouse an unpleasant feeling, sometimes so intense as to produce anger, disgust, or simply aversion. | 0 | |||||||||
| Sacks; Musicophilia | 317 | Isabelle Peretz thinks that there must be a particular functional architecture underlying the emotional interpretation of music. | 2 | |||||||||
| Sacks; Musicophilia | 317 | Several lines of research have implicated a very extensive network involving both cortical and subcortical regions as the basis for emotional responses to music. | 0 | |||||||||
| Sacks; Musicophilia | 317 | The fact that a person may have not only a selective loss of musical emotion, but an equally selective sudden musicophilia, implies that the emotional response to music may have a very specific physiological basis of its own, one which is distinct from that of emotional responsiveness in general. | 0 | |||||||||
| Sacks; Musicophilia | 322 | For many people, the emotions induced by music may be overwhelming. | 5 | |||||||||
| Sacks; Musicophilia | 322 | A number of people who are intensely sensitive to music cannot have it on as background when they work. They must attend to music completely or turn it off, for it is too powerful to allow them to focus on other mental activities. | 0 | |||||||||
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