Here are 100 books that Musicophilia fans have personally recommended if you like
Musicophilia.
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I like trying to solve problems about the mind: Is the mind just the brain? What is consciousness, and where is it in the brain? What happens in the brain during aesthetic experience? Why are we prone to self-deception? In approaching these questions, I don’t limit myself to one discipline or set of techniques. These mental phenomena, and the problems that surround them, do not hew to our disciplinary boundaries. In spite of this, someone needs to collect, analyze, and assess information relevant to the problems—which is in many different formats—and build theories designed to make sense of it. During that time, more data will become available, so back you go.
Anjan Chatterjee has managed to write a book that a) is very accessible, b) provides thorough coverage of current attempts to understand art and aesthetic experience by using information from the cognitive sciences, and c) outlines an original hypothesis about why humans evolved a love for art. That last part changes the book from a nice review of the topic to a groundbreaking attempt at an explanation of our art practices.
Chatterjee examines our judgments of peoples’ attractiveness, the brain’s system of reward chemicals, and our evolutionary history, in an attempt to understand our passion for art scientifically.
In an upcoming book on art, I refer to Chatterjee frequently. I don’t always agree with him, but his sensible, clear, and broad approach made his book very useful to me.
The Aesthetic Brain takes readers on an exciting journey through the world of beauty, pleasure, and art. Using the latest advances in neuroscience and evolutionary psychology, Anjan Chatterjee investigates how an aesthetic sense is etched into our minds, and explains why artistic concerns feature centrally in our lives. Along the way, Chatterjee addresses such fundamental questions as: What is beauty? Is it universal? How is beauty related to pleasure? What is art? Should art be beautiful? Do we have an instinct for art?
Early on, Chatterjee probes the reasons why we find people, places, and even numbers beautiful, highlighting the…
I like trying to solve problems about the mind: Is the mind just the brain? What is consciousness, and where is it in the brain? What happens in the brain during aesthetic experience? Why are we prone to self-deception? In approaching these questions, I don’t limit myself to one discipline or set of techniques. These mental phenomena, and the problems that surround them, do not hew to our disciplinary boundaries. In spite of this, someone needs to collect, analyze, and assess information relevant to the problems—which is in many different formats—and build theories designed to make sense of it. During that time, more data will become available, so back you go.
V. S. Ramachandran is a gifted experimentalist and writer who does not hesitate to pursue deep and important questions about our minds. Rather than employing expensive imaging or large sample sizes, he is more likely to use a cardboard box, an old stereopticon, or a rubber hand in his experiments.
His creativity in finding concrete ways to test seemingly vague but interesting claims about our minds has led to several breakthroughs, in our understanding of phantom limbs and our ability to treat phantom pain, and also in our study or synesthesia—cases in which people see numbers as having colors, for example.
As I can attest, he is able to transmit to his students the idea that pursuing scientific questions can thrilling, fulfilling, and so much fun that you can’t wait to get to work in the morning.
In this landmark work, V. S. Ramachandran investigates strange, unforgettable cases-from patients who believe they are dead to sufferers of phantom limb syndrome. With a storyteller's eye for compelling case studies and a researcher's flair for new approaches to age-old questions, Ramachandran tackles the most exciting and controversial topics in brain science, including language, creativity, and consciousness.
I like trying to solve problems about the mind: Is the mind just the brain? What is consciousness, and where is it in the brain? What happens in the brain during aesthetic experience? Why are we prone to self-deception? In approaching these questions, I don’t limit myself to one discipline or set of techniques. These mental phenomena, and the problems that surround them, do not hew to our disciplinary boundaries. In spite of this, someone needs to collect, analyze, and assess information relevant to the problems—which is in many different formats—and build theories designed to make sense of it. During that time, more data will become available, so back you go.
In the mid-1980s, Patricia Churchland started to pursue the idea that philosophers interested in the mind might want to have a look at what is going on in neuroscience, in her book Neurophilosophy.
This book was formative for me, in that it showed a way I could combine my interest in the brain with my love for philosophy. Since then, new generations of graduate students have seen the naturalness of the link and begun to bring the wealth of neuroscientific discoveries into the philosophical debates.
In Conscience, she looks at the evolutionary roots of our tendencies to form bonds and create social norms to approach the issue of whether our sociality is hardwired. She also discusses the troubling case of sociopaths, who appear to be naturally unethical.
Patricia Churchland, the distinguished founder of neurophilosophy, reaches beyond the familiar argument of nature versus nurture to bring together insights from philosophy and revolutionary research in neuroscience. Scientific research may not be able to say with certainty what is ethical, and the definition of morality varies from person to person. But, from birth, our brains are configured to form bonds, to co-operate and to care.
Delving into research studies, including work on twins and psychopaths, Churchland deepens our understanding of the brain's role in creating an ethical system. She then turns to philosophy to explore why morality is central to…
I like trying to solve problems about the mind: Is the mind just the brain? What is consciousness, and where is it in the brain? What happens in the brain during aesthetic experience? Why are we prone to self-deception? In approaching these questions, I don’t limit myself to one discipline or set of techniques. These mental phenomena, and the problems that surround them, do not hew to our disciplinary boundaries. In spite of this, someone needs to collect, analyze, and assess information relevant to the problems—which is in many different formats—and build theories designed to make sense of it. During that time, more data will become available, so back you go.
Are philosophers like detectives, in that they chase their culprit over any terrain, and follow any clue? What can count as a clue?
Given the right context, pretty much anything, a pencil placed here rather than there, a picture of a car, something someone said, a fingerprint. Or are we more like technicians, like the fingerprint expert who only lifts and analyzes prints? The problem with being the fingerprint expert is that it can completely remove philosophers from their originating problems and turn them into mere technicians.
Ned Block is a detective, who has followed clues about the nature of consciousness deep into psychology and neuroscience. Here Block argues that there is a genuine distinction between seeing and thinking, and draws out the consequences of that for our theories of consciousness.
Philosopher Ned Block argues in this book that there is a "joint in nature" between perception and cognition and that by exploring the nature of that joint, one can solve mysteries of the mind. The first half of the book introduces a methodology for discovering what the fundamental differences are between cognition and perception and then applies that methodology to isolate how perception and cognition differ in format and content. The second half draws consequences for theories of consciousness, using results of the first half to argue against cognitive theories of consciousness that focus on prefrontal cortex. Along the way,…
I’m a professor of cognitive psychology at UCLA, and also a poet. Growing up on a dairy farm in British Columbia, I immersed myself in the world of books. My mother showed me her well-worn copy of a poetry book written by her Scottish great-great-aunt, and I longed to create my own arrangements of words. Later, as a student at the University of British Columbia and then Stanford, my interest in creativity was channeled into research on how people think. I’ve studied how people use analogies and metaphors to create new ideas. In addition to books on the psychology of thinking and reasoning, I’ve written several volumes of poetry.
It’s not really six songs, but six human needs that songs fulfill: friendship, joy, comfort, knowledge, religion, love—needs that largely define “human nature.” This book combines the perspective of a neuroscientist and musician (Dan Levitin is both), describing why songs may have arisen, and how they impact emotion, memory, and the place of an individual in a society. A song combines music with lyrics—the near relative of a poem. For me (a non-musician), the book was especially useful in clarifying the ways in which song lyrics and poems are both similar and different. Songs derive their power by combining the creative potential of language and music.
The author of the New York Times bestseller This Is Your Brain on Music reveals music’s role in the evolution of human culture in this thought-provoking book that “will leave you awestruck” (The New York Times).
Daniel J. Levitin's astounding debut bestseller, This Is Your Brain on Music, enthralled and delighted readers as it transformed our understanding of how music gets in our heads and stays there. Now in his second New York Times bestseller, his genius for combining science and art reveals how music shaped humanity across cultures and throughout history.
Here he identifies six fundamental song functions or…
Music has been a passion ever since I joined my mother’s hippie jam sessions as a toddler. During my 17 years as a professional cellist-in-training, I tried Yo-Yo Ma’s Stradivarius and played Pachelbel’s Canon at a gazillion weddings. I even made it to Carnegie Hall, performing in a university orchestra on the gilded stage. But injuries, both physical and psychological, put an end to my classical music career. Trying to forget my cello years, I entered journalism, eventually becoming a staff health reporter at Canada’s national newspaper, The Globe and Mail. Later, when a percussion workshop triggered a dramatic shift in my perspective, I answered the call to explore music in a more expansive way.
Like most readers, I like my science sandwiched between stories.
Tim Falconer delivers a winsome tale of a writer diagnosed with “amusia"—the clinical term for “tone deafness”—who nevertheless longs to sing. Bashful yet determined, he delves into the science of auditory deficits and musicality on a quest to uncover why he can’t sing in tune, and whether anything can be done about it.
I couldn’t help but cheer him on as he endures remedial singing lessons and a nail-biting buildup to a public performance. Will he pull it off? And is there hope for other bad singers out there? I loved how Falconer used himself as Exhibit A to prove that even extreme tone deficits needn’t keep us from the joys of making music.
In the tradition of Daniel Levitin's This Is Your Brain on Music and Oliver Sacks' Musicophilia, Bad Singer follows the delightful journey of Tim Falconer as he tries to overcome tone deafness - and along the way discovers what we're really hearing when we listen to music.
Tim Falconer, a self-confessed "bad singer," always wanted to make music, but soon after he starts singing lessons, he discovers that he's part of only 2.5 percent of the population afflicted with amusia - in other words, he is scientifically tone-deaf.
Bad Singer chronicles his quest to understand human evolution and music, the…
Classical music has been one of the great passions of my life, ever since at the age of 6 my father introduced me to the magic of Chopin’s Polonaise héroïque, by improvising the story that the music was telling, creating a magical mosaic of notes and words. I then realized that music tells stories and that musical stories do not only offer pleasure, excitement, and consolation, but also act as sources of insight into the world we inhabit, in all its complexity and drama. I have since made classical music a regular part of my life, Bach, Mozart, Chopin, and Beethoven being intimate friends and acquaintances, not distant historical figures.
If you want to delve into how music functions in the human mind and how it helps support communities and groups, then Anthony Storr’s is the book for you. Eminent psychiatrist, Oxford professor, and proficient pianist and violist, Storr (author of Churchill's Black Dog) uses his deep knowledge of philosophy, psychology, and religion to address questions like “Where does music come from?”, “Is music a common language for all humanity?” “How does music trigger emotions?” “Are our encounters with music in any way comparable with encountering persons?” Drawing on the work of Jung, Nietzsche, and Schopenhauer, Storr argues that music, like religion, is a feature of allhuman cultures. Like religion, it offers solace and comfort from the hardships of life.
However, music is not universal—different cultures develop their own musical traditions and conventions, just as they develop different political systems and different languages. What is universal, and this…
Examines the psychological, emotional, historical and philosophical roles of the musical experience in a person's life. This text looks at music as both a social and a solitary experience and supports the contention that music is the most significant experience in life.
I have always been fascinated by how the human mind adapts, both individually and through history. Julian Jaynes, who taught me while pursuing my PhD in anthropology from Princeton University, provided me with a theoretical framework to explore how the personal and cultural configure each other. Jaynes inspired me to publish on psychotherapeutics, the history of Japanese psychology, linguistics, education, nationalism, the origin of religion, the Bible, ancient Egypt, popular culture, and changing definitions of self, time, and space. My interests have taken me to China and Japan, where I lived for many years. I taught at the University of Arizona and currently work as a licensed mental health counselor.
Supported by a wide range of examples drawn from various disciplines, this book demonstrates how we are only conscious of a small amount of what our hidden psychological machinery manufactures nonconsciously.
This work provides a key perspective needed to appreciate Julian Jaynes’s theory of consciousness and, thus his ideas on bicameral mentality.
As John Casti wrote, "Finally, a book that really does explain consciousness." This groundbreaking work by Denmark's leading science writer draws on psychology, evolutionary biology, information theory, and other disciplines to argue its revolutionary point: that consciousness represents only an infinitesimal fraction of our ability to process information. Although we are unaware of it, our brains sift through and discard billions of pieces of data in order to allow us to understand the world around us. In fact, most of what we call thought is actually the unconscious discarding of information. What our consciousness rejects constitutes the most valuable part…
As a novelist, I am endlessly curious about people and like hearing their stories. As an erstwhile computer programmer and farmer, I also have a lifelong interest in science and natural history. When I find those two divergent interests have cross-pollinated in a single gracefully-written book, I am a very happy reader. I love books that weave together an intriguing scientific question with the human story of the scientists pursuing an answer to that question.
I am a recreational clarinetist and a friend gave me this book, thinking I would like to know how music is rewiring my brain and possibly helping stave off senility. Nina Kraus has pursued a career in the study of hearing, and her passion for her subject infuses the book. She is entranced by the two-way feedback connection between the brain and the ear, and how the sounds we have already heard and processed shape our interpretation of the next sound waves to reach our ears, sometimes in surprising ways. Her description of the miraculously intricate mechanisms inside the ear makes me grateful for every time I wore ear protection when I was using a power tool or driving a tractor.
How sound leaves a fundamental imprint on who we are.
Making sense of sound is one of the hardest jobs we ask our brains to do. In Of Sound Mind, Nina Kraus examines the partnership of sound and brain, showing for the first time that the processing of sound drives many of the brain's core functions. Our hearing is always on--we can't close our ears the way we close our eyes--and yet we can ignore sounds that are unimportant. We don't just hear; we engage with sounds. Kraus explores what goes on in our brains when we hear a word--or…
I have spent my entire professional life quietly patrolling the frontiers of understanding human consciousness. I was an early adopter in the burgeoning field of biofeedback, then neurofeedback and neuroscience, plus theory and practices of humanistic and transpersonal psychology, plus steeping myself in systems theory as a context for all these other fields of focus. I hold a MS in psychology from San Francisco State University and a PhD from Saybrook Institute. I live in Mount Shasta CA with Molly, my life partner for over 60 years. We have two sons and two grandchildren.
Nobel prize winner Gerald Edelman sums up in this book a model of human consciousness that has greatly informed my understanding. The framework he constructs involves intricate interconnections among myriad brain components— interconnections that operate according to a dynamic process that he terms “re-entry."
Written in a voice that is quite professorial, this book requires concentrated study, and is a must-have text for the serious student of human consciousness.
How does the firing of neurons give rise to subjective sensations, thoughts, and emotions? How can the disparate domains of mind and body be reconciled? The quest for a scientifically based understanding of consciousness has attracted study and speculation across the ages. In this direct and non-technical discussion of consciousness, Dr. Gerald M. Edelman draws on a lifetime of scientific inquiry into the workings of the brain to formulate answers to the mind-body questions that intrigue every thinking person. Concise and understandable, the book explains pertinent findings of modern neuroscience and describes how consciousness arises in complex brains. Edelman explores…
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