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
Sacks; Musicophilia