Kindle Price: | $22.99 |
Sold by: | Simon and Schuster Digital Sales LLC Price set by seller. |
Your Memberships & Subscriptions
Download the free Kindle app and start reading Kindle books instantly on your smartphone, tablet, or computer - no Kindle device required.
Read instantly on your browser with Kindle for Web.
Using your mobile phone camera - scan the code below and download the Kindle app.
OK
MUSIC AND THE MIND Kindle Edition
- LanguageEnglish
- PublisherFree Press
- Publication dateMay 19, 2015
- File size1135 KB
Customers who bought this item also bought
Editorial Reviews
From Publishers Weekly
Copyright 1992 Reed Business Information, Inc.
From the Inside Flap
WALL STREET JOURNAL
Drawing on his own life long passion for music and synthesizing the theories of Plato, Schopenhauer, Stravinsky, Nietzsche, Bartok, and others, distinguished author and psychologist Anthony Storr illuminates music's deep beauty and timeless truth and why and how music is one of the fundamental activities of mankind.
From the Back Cover
WALL STREET JOURNAL
Drawing on his own life long passion for music and synthesizing the theories of Plato, Schopenhauer, Stravinsky, Nietzsche, Bartok, and others, distinguished author and psychologist Anthony Storr illuminates music's deep beauty and timeless truth and why and how music is one of the fundamental activities of mankind.
About the Author
Product details
- ASIN : B00X4114L6
- Publisher : Free Press (May 19, 2015)
- Publication date : May 19, 2015
- Language : English
- File size : 1135 KB
- Text-to-Speech : Enabled
- Screen Reader : Supported
- Enhanced typesetting : Enabled
- X-Ray : Not Enabled
- Word Wise : Enabled
- Sticky notes : On Kindle Scribe
- Print length : 275 pages
- Best Sellers Rank: #1,233,795 in Kindle Store (See Top 100 in Kindle Store)
- Customer Reviews:
About the author
Discover more of the author’s books, see similar authors, read author blogs and more
Customer reviews
Customer Reviews, including Product Star Ratings help customers to learn more about the product and decide whether it is the right product for them.
To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average. Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon. It also analyzed reviews to verify trustworthiness.
Learn more how customers reviews work on Amazon-
Top reviews
Top reviews from the United States
There was a problem filtering reviews right now. Please try again later.
In Ch 2 Storr begins to unpack his central theme - we can all have physical and emotional responses to music and while we may share similar responses, one person may not necessarily respond to a piece of music exactly the same as another or indeed respond to the same piece in the same way at different times in life. Our methods of perception (left/right brain alone) may mean that we take from music something that another does not. He also notes the capacity for some to empathise with a piece music while others focus on its structure and form. Similarly, a capacity to appreciate music doesn't necessarily translate into a talent for performing music. Music he notes, plays a variety of roles in health care and interestingly, the brain can process music or song in differing ways pre and post injury.
Ch 3 is a tough read but he draws forth some important insights. First that music is deeply embedded in culture. The creation of specific works of music draw deeply from that culture and are unique to it. Here he draws attention to the variety of musical scales that exist and which may be unique to a given culture. He suggests that one may learn the music of another culture, just as one can learn their language, but few will be deeply grasp that which is not culturally theirs. In this chapter his also introduces another key thematic, that of the cultural imperialism of the westernised form of music, noting some perceptions of it as though it were the only true musical form.
In Ch 4 he explores the idea that music in itself can express ideas without words. But at the same time poses the idea that what the composer wrote in the music, their ideas and insights may be set in a given time and space, and as such others may never perceive in the music what the composer intended. Again here he brings forth his insight about the cultural centricity or groundedness of compositions and the capacity of the listener of such creations to ever get what the other was on about. One cannot just know a composer because you have studied their music (121). Here and else where (e.g. page 129) Storr brings forth a social constructionist theme, questioning our capacity to grasp a thing in itself as distinct to our interpretation of phenomenon as they seem to us.
In the ensuing chapters he takes up some more psychological themes. In Ch 5 he considers music thru the question as to whether it is an escape from reality. I am no fan of Freud and as such I found parts of this chapter overly analytical - sometimes an ink blot is just an ink blot Sigmund! Music does though, have the capacity to take us to another 'mental space' and give life satisfaction - a thematic that he draws forward now until the end of the book, noting in the end that like Neitzsche music has been 'something for the sake of which it is worthwhile to live on earth' (188). Music can be a source of comfort for those who find themselves alone, but do not wish to be so (111). Music can also be a source of solace in an otherwise alienating world (121).
Ch 7 & 8 get to the heart of the question for me, the place of music in the realisation of the self - the finding and expressing of meaning in life. Here the breadth and deep of discussion, encompassing Jung, Plato and Schopenhauer (among others) is exhilarating. The experience of the aesthetic, the contemplation of beauty, abstraction, knowing ourselves, personal striving and the will to power, the satisfaction of desire and dealing with the internal hunger, the craving that the death of God means for individuals, in this case Jung and Neitzsche, something that many of us can identify with. And what is this striving about but: "becoming what one is (as) a creative act comparable with creating a work of art" (153). But it is not gooey art - it is art that embraces the fullness of life as tragedy wherein "we have moved beyond mere enjoyment of music to a condition in which we are saying yes to life as it actually is: tragic, ecstatic, painful and joyful - following Neitzche, music and art make sense of the world and justifies existence' (158).
I enjoyed this book and it is one that I will read again. I can't recall what I thought I would find in this book but I was surprised and delighted by the breadth and depth of the lenses thru which he considered not just music but life as well. From his early discussions of the role of hearing in the develop of emotion thru to the difficult questions of finding meaning and satisfaction in a "tragic" world, Storr takes one on a journey. And thru his Jungian lens, he suggests that there is a sense of wholeness, of balance to be found on this journey. And when one has music in mind, I think he is saying that it is as much as what we bring to music in our yearnings, expectations, or current realities, at a given time and place in our lives, as it is as about what we take away from it that makes music so very personal. Storr recognises that music can engage us physically, emotionally, economically, environmentally, psychologically, socially, in solitude as well as isolation and spirituality. Music can meet us at the intersection of multiple perspectives and combined life experiences. For sure we can all respond to a given piece of music at some level of shared experience but fundamentally music will speak to us as who each of us is at a given moment in our life journey. Thru these multiple pathways music speaks not just to us and thru us, but also thru the expression of and/or the creation of music we too can have a say, we can express what we need to share with a wider world and we too can be a part of the creation of beauty and of the every day. Certainly life has its discords, but even within the dissonance of life harmony exists and perhaps it is within our hands to resolve the dissonance and either express a chord that resonates within, or to express a sound that for us is our enduring albeit individual statement of meaning, purpose or being.
I bought this book hoping for a scientific discussion of how music influences us, for example things like: the influence of music of different types on animals, the reactions of children to different types of music, what MRI and PET scans tells us about the effect of music on the brain,
differences in music across cultures; stuff like that.
What I got was a text in the worst traditions of Freud and Jung, a rambling collection of fragments and observations from the writings of Western Civ over the last two thousand years and presumed to be true simply because their language is resonant and evocative. This is doubtless of interest to some people, but is of very little interest to me.
To people like myself, interested in what is actually known about music and the mind, rather than interested in simply reading a hundred different ways in which people have essentially said the same thing "Music has a profound and mysterious effect on the mind", this book is a complete waste of time and money. I cannot warn you strongly enough that it will do nothing but disappoint you.
Top reviews from other countries
Jennifer
But this latter group of people are often clueless when it comes to describing why music moves them so profoundly - after all, they are just tones, sounds - arranged in a particular sequence and perceived through the hearing apparatus of homo sapiens..
But like, that famous haiku goes "but yet, but yet.."
The search for this elusive 'more' that music provides to its supplicants is basically at the heart of this fairly dense book. The writing is like quicksilver, dense and light at the same time, as the author (a psychiatrist by profession) wears his erudition lightly, weaving a tapestry of informed speculation drawn from the coils of anthropology, ethnomusicology, psychoanalysis (of course), and philosophy. This exploration is conducted through several pointed chapters, each a dense article in itself, dealing with questions that only a music obsessive would ponder : where exactly does music come from? (possibly from our primate heritage) is it true, as freud suspected, that the fundamental attraction of music is that it represents an escape from depressing reality? (sort of, but not entirely) He even takes a gander at the speculation that solitary listening to music (an evolutionarily novel, and historically very recent phenomenon) can be construed as neurotic phenomenon.
The conclusion that the author arrives at (after several detours and pitstops) is that music is meaningful precisely because we are, by necessity, meaning-making creatures - we do not grasp individual phenomena as they are by themselves, but their relations. In this, music's well-known affinity with mathematics is made clear, both are concerned with the implicit ordering of abstract phenomena (the relation between tones in music, and the process of ordering itself in mathematics), but mathematics does not have the bodily component that music does. We are inescapably bodily creatures, and music is inescapably bodily. Music thus manages to be both abstract and concrete, mind and body, at the same time - it moves us so profoundly and at our whole being, because it is a synthesis and a re-unity of aspects of ourselves that are very often divided. It is the ur-phenomenon of the primal human process of meaning-making, the crystalline model of our intuitively-felt flow of life.
The author quotes Nietzsche (who has a chapter devoted to him) approvingly, "If not for music, existence would most certainly be considered a mistake." - and the author himself, ends his treatise with the expansive declaration that "music is an unasked-for, and undeserved blessing - transcendent."
I feel as though the author, given the opportunity to write about the love of his life, has just thrown the kitchen sink at it - like all love letters, it is passionate, a bit messy, and a tour-de-force of intellectual synthesis (OK, maybe not the last one) - strongly recommended for anyone who has heard a song.
I would be remiss if I didn't mention that while the author's specialty and focus is the tradition known as Western classical music, a knowledge of music theory is not really required (except for the chapter "Basic Patterns" which purports to investigate the claim for the supposed objective basis for the Western harmonic system), given that the book is written at a sufficiently general level - an achievement I feel is of real credit to the author.