100 books like Musical Savants

My interest in how music makes sense was first piqued when, as a music student at the Royal Academy of Music in London, I met a blind child who, despite having learning difficulties, could reproduce the most complex music on the piano just by listening. Put simply, he had a better musical ear than I did, as a prize-winning student at a top conservatoire. Since that early experience, I have devoted my life to exploring just how music works (without the need for conceptual understanding) and how teachers can use the universality of music to promote social inclusion.

My interest in how music makes sense was first piqued when, as a music student at the Royal Academy of Music in London, I met a blind child who, despite having learning difficulties, could reproduce the most complex music on the piano just by listening. Put simply, he had a better musical ear than I did, as a prize-winning student at a top conservatoire. Since that early experience, I have devoted my life to exploring just how music works (without the need for conceptual understanding) and how teachers can use the universality of music to promote social inclusion.

My interest in how music makes sense was first piqued when, as a music student at the Royal Academy of Music in London, I met a blind child who, despite having learning difficulties, could reproduce the most complex music on the piano just by listening. Put simply, he had a better musical ear than I did, as a prize-winning student at a top conservatoire. Since that early experience, I have devoted my life to exploring just how music works (without the need for conceptual understanding) and how teachers can use the universality of music to promote social inclusion.

My interest in how music makes sense was first piqued when, as a music student at the Royal Academy of Music in London, I met a blind child who, despite having learning difficulties, could reproduce the most complex music on the piano just by listening. Put simply, he had a better musical ear than I did, as a prize-winning student at a top conservatoire. Since that early experience, I have devoted my life to exploring just how music works (without the need for conceptual understanding) and how teachers can use the universality of music to promote social inclusion.

In the years since I was 15, I have been writing and publishing books. After graduating from Florida Virtual School in 2014, I am currently pursuing a liberal arts degree with a focus on disabilities education. I'm passionate about literature, and I've dedicated myself to educating others about disabilities through my love of literature. Furthermore, I own a radio station and produce several podcasts related to disability. I contribute to seven different sites, including the mighty thought catalog and unwritten, where I talk about my life as a 27-year-old with a disability. I am also an advocate for disability rights, as well as a writer and author for disability issues.

Paul Harris is one of the UK’s most influential music educationalists. He studied the clarinet at the Royal Academy of Music, where he won the August Manns Prize for outstanding performance in clarinet playing and where he now teaches. He is in great demand as a teacher, composer, and writer (he has written over 600 books); and his inspirational masterclasses and workshops continue to influence thousands of young musicians and teachers all over the world in both the principles and practice of musical performance and education.

I began research as an undergraduate at Harvard College, initially studying the effects of vitamin A deficiency on the photoreceptors in the eye that capture the light and initiate vision. After receiving my PhD and starting my own laboratory, I became fascinated with the other four classes of cells/neurons found in the retina, which begin the analysis of visual information: two being in the outer retina and two in the inner retina. We mapped out the synaptic interactions among the neurons, recorded from them, and began to put together the neural circuitries that underlie the visual messages that are sent to other parts of the brain. 

We all have important stories to tell. So my mission in life is to tell stories from many different perspectives. To date, I’ve written novels narrated by a 13th-century woman, a gruff North Idaho detective, a 14-year-old boy, a sorcerer, and even a tree! To write all my characters, I start with my own experiences of course –March Wong in The Eagle Tree draws on my own experiences growing up in China and from my experience working with neurodivergent children. But I don’t stay locked in my own perspective. Instead, I use my stories to continuously stretch our understanding of what it means to be human. 

Too often, I find that novelists force the endings of their books in ways that aren’t true to their characters, the stories, or their settings. Often, they do so to provide the Hollywood ending that many readers crave. That always leaves me cold. I love novels whose characters are complex, human, and believable and interact with their setting and the story in ways that do not stretch credulity. This is how I try to approach my own writing and was foremost in my mind as I set out to write my own book.

I’ve lived most of my life with invisible disabilities that affect my daily activities, and I hope to encourage nuanced, empowering, and inclusive conversations about disabilities with my book, So Much More to Helen! All of my nonfiction picture books—Miep and the Most Famous Diary, Winged Wonders, Cougar Crossing, Ocean Soup, Make Way for Animals!, and more—are about “solutionaries” who help people, animals, and the planet. They’ve won Golden Kite and Eureka! Nonfiction Honor Awards, starred reviews, and spots on best book and state reading lists. Mostly, I hope they inspire compassion, curiosity, and action.