Quotes from Musicophilia: Tales of Music and the Brain

“Every act of perception, is to some degree an act of creation, and every act of memory is to some degree an act of imagination.”
― Oliver Sacks, quote from Musicophilia: Tales of Music and the Brain

“Music is part of being human.”
― Oliver Sacks, quote from Musicophilia: Tales of Music and the Brain

“The inexpressible depth of music, so easy to understand and yet so inexplicable, is due to the fact that it reproduces all the emotions of our innermost being, but entirely without reality and remote from its pain...Music expresses only the quintessence of life and of its events, never these themselves.”
― Oliver Sacks, quote from Musicophilia: Tales of Music and the Brain

“Music, uniquely among the arts, is both completely abstract and profoundly emotional. It has no power to represent anything particular or external, but it has a unique power to express inner states or feelings. Music can pierce the heart directly; it needs no mediation.”
― Oliver Sacks, quote from Musicophilia: Tales of Music and the Brain

“There are, of course, inherent tendencies to repetition in music itself. Our poetry, our ballads, our songs are full of repetition; nursery rhymes and the little chants and songs we use to teach young children have choruses and refrains. We are attracted to repetition, even as adults; we want the stimulus and the reward again and again, and in music we get it. Perhaps, therefore, we should not be surprised, should not complain if the balance sometimes shifts too far and our musical sensitivity becomes a vulnerability.”
― Oliver Sacks, quote from Musicophilia: Tales of Music and the Brain

“It really is a very odd business that all of us, to varying degrees, have music in our heads.”
― Oliver Sacks, quote from Musicophilia: Tales of Music and the Brain

“There is certainly a universal and unconscious propensity to impose a rhythm even when one hears a series of identical sounds at constant intervals... We tend to hear the sound of a digital clock, for example, as "tick-tock, tick-tock" - even though it is actually "tick tick, tick tick.”
― Oliver Sacks, quote from Musicophilia: Tales of Music and the Brain

“The power of music, whether joyous or cathartic must steal on one unawares, come spontaneously as a blessing or a grace--”
― Oliver Sacks, quote from Musicophilia: Tales of Music and the Brain

“What an odd thing it is to see an entire species -- billions of people -- playing with, listening to meaningless tonal patterns, occupied and preoccupied for much of their time by what they call 'music.' (-- The Overlords, from Arthur C. Clarke's Childhood's End)”
― Oliver Sacks, quote from Musicophilia: Tales of Music and the Brain

“Given her deafness, the auditory part of the brain, deprived of its usual input, had started to generate a spontaneous activity of its own, and this took the form of musical hallucinations, mostly musical memories from her earlier life. The brain needed to stay incessantly active, and if it was not getting its usual stimulation..., it would create its own stimulation in the form of hallucinations.”
― Oliver Sacks, quote from Musicophilia: Tales of Music and the Brain

“At the end of our visit, Fleisher agreed to play something on my piano, a beautiful old 1894 Bechstein concert grand that I had grown up with, my father's piano. Fleisher sat at the piano and carefully, tenderly, stretched each finger in turn, and then, with arms and hands almost flat, he started to play. He played a piano transcription of Bach's "Sheep May Safely Graze," as arranged for piano by Egon Petri. Never in its 112 years, I thought, had this piano been played by such a master-I had the feeling that Fleisher has sized up the piano's character and perhaps its idiosyncrasies within seconds, that he had matched his playing to the instrument, to bring out its greatest potential, its particularity. Fleisher seemed to distill the beauty, drop by drop, like an alchemist, into flowing notes of an almost unbearable beauty-and, after this, there was nothing more to be said.”
― Oliver Sacks, quote from Musicophilia: Tales of Music and the Brain

“Anatomists today would be hard put to identify the brain of a visual artist, a writer or a mathematician - but they would recognize the brain of a professional musician without moment's hesitation.”
― Oliver Sacks, quote from Musicophilia: Tales of Music and the Brain

“Perception is never purely in the present - it has to draw on experience of the past;(...).We all have detailed memories of how things have previously looked and sounded, and these memories are recalled and admixed with every new perception.”
― Oliver Sacks, quote from Musicophilia: Tales of Music and the Brain

“Patients with various other types of movement disorders may also be able to pick up the rhythmic movement or kinetic melody of an animal, so, for example, equestrian therapy may have startling effectiveness for people with parkinsonism, Tourette’s syndrome, chorea, or dystonia.”
― Oliver Sacks, quote from Musicophilia: Tales of Music and the Brain

“WHILE MUSIC alone can unlock people with parkinsonism, and movement or exercise of any kind is also beneficial, an ideal combination of music and movement is provided by dance (and dancing with a partner, or in a social setting, brings to bear other therapeutic dimensions).”
― Oliver Sacks, quote from Musicophilia: Tales of Music and the Brain

“Professional musicians, in general, possess what most of us would regard as remarkable powers of musical imagery. Many composers, indeed, do not compose initially or entirely at an instrument but in their minds. There is no more extraordinary example of this than Beethoven, who continued to compose (and whose compositions rose to greater and greater heights) years after he had become totally deaf. It is possible that his musical imagery was even intensified by deafness, for with the removal of normal auditory input, the auditory cortex may become hypersensitive, with heightened powers of musical imagery (and sometimes even auditory hallucinations).”
― Oliver Sacks, quote from Musicophilia: Tales of Music and the Brain

“Music can also evoke worlds very different from the personal, remembered worlds of events, people, places we have known.”
― Oliver Sacks, quote from Musicophilia: Tales of Music and the Brain

“Ucho w liczbach:" A youthful ear can hear ten octaves of sound, spanning a range from about thirty to twelve tousand vibrations a second. The avarege ear can distinguish sounds a seventeenth of a tone apart. From top to bottom we hear about fourtheen tousend discriminable tones.”
― Oliver Sacks, quote from Musicophilia: Tales of Music and the Brain

“I had no room now for this fear, or for any other fear, because I was filled to the brim with music. And even when it was not literally (audibly) music, there was the music of my muscle-orchestra playing — “the silent music of the body,” in Harvey’s lovely phrase. With this playing, the musicality of my motion, I myself became the music — “You are the music, while the music lasts.” A creature of muscle, motion and music, all inseparable and in unison with each other — except for that unstrung part of me, that poor broken instrument which could not join in and lay motionless and mute without tone or tune.”
― Oliver Sacks, quote from Musicophilia: Tales of Music and the Brain

“Perception is never purely in the present - it has to draw on experience of the past.”
― Oliver Sacks, quote from Musicophilia: Tales of Music and the Brain

“Deutsch and her colleagues, in their 2006 paper, suggested that their work not only has “implications for the issues of modularity in the processing of speech and music…[but] of the evolutionary origin” of both. In particular, they see absolute pitch, whatever its subsequent vicissitudes, as having been crucial to the origins of both speech and music. In his book The Singing Neanderthals: The Origins of Music, Language, Mind and Body, Steven Mithen takes this idea further, suggesting that music and language have a common origin, and that a sort of combined protomusic-cum-protolanguage was characteristic of the Neanderthal mind.”
― Oliver Sacks, quote from Musicophilia: Tales of Music and the Brain

“The combination of mental and physical practice leads to greater performance improvement than does physical practice alone, a phenomenon for which our findings provide a physiological explanation. - Alvaro Pascual-Leone”
― Oliver Sacks, quote from Musicophilia: Tales of Music and the Brain

“Physiological confirmation of such “filling in” by involuntary musical imagery has recently been obtained by William Kelley and his colleagues at Dartmouth, who used functional MRI to scan the auditory cortex while their subjects listened to familiar and unfamiliar songs in which short segments had been replaced by gaps of silence. The silent gaps embedded in familiar songs were not consciously noticed by their subjects, but the researchers observed that these gaps “induced greater activation in the auditory association areas than did silent gaps embedded in unknown songs; this was true for gaps in songs with lyrics and without lyrics.”
― Oliver Sacks, quote from Musicophilia: Tales of Music and the Brain

“The tritone - an augmented fourth (or, in hazz parlance, a flatted fifth) - is a difficult interval to sing and has often been regarded as having an ugly, uncanny, or even diabolical quality. Its use was forbidden in early ecclesiastical music, and early theorists called it diabolus in musica ("the devil in music"). But Tartini used it, for this very reason, in his Devil's Trill Sonata for violin.
Though the raw tritone sounds so harsh, it is easily filled out with another tritone to form a diminished seventh. And this, the Oxford Companion to Music notes, "has a luscious effect... The chord is indeed the most Protean in all harmony. In England the nickname has been given it of 'The Clapham Junction of Harmony' - from a railway station in London where so many lines join that once arrived there one can take a train for almost anywhere else.”
― Oliver Sacks, quote from Musicophilia: Tales of Music and the Brain

“(One newsmagazine, in 1987, defined them, half facetiously, as “cognitively infectious musical agents.”)”
― Oliver Sacks, quote from Musicophilia: Tales of Music and the Brain

“Anatomists today would be hard put to identify the brain of a visual artist, a writer, or a mathematician—but they could recognize the brain of a professional musician without a moment’s hesitation.”
― Oliver Sacks, quote from Musicophilia: Tales of Music and the Brain

“67.What Jacob discovered in himself has similarities to a phenomenon reported in experimental animals by Arnaud Noreña and Jos Eggermont in 2005. They found that cats exposed to “noise trauma” and then raised for a few weeks in a quiet environment developed not only hearing loss but distorted tonotopic maps in the primary auditory cortex. (They would have complained of pitch distortion, were they able to.) If, however, the cats were exposed to an enriched acoustic environment for several weeks following exposure to noise trauma, their hearing loss was less severe, and distortions in their auditory cortical mapping did not occur.”
― Oliver Sacks, quote from Musicophilia: Tales of Music and the Brain

“That we have separate and distinct mechanisms for appreciating the structural and the emotional aspects of music is brought home by the wide variety of responses (and even “dissociations”) that people have to music.146 There are many of us who lack some of the perceptual or cognitive abilities to appreciate music but nonetheless enjoy it hugely, and enthusiastically bawl out tunes, sometimes shockingly off-key, in a way that gives us great happiness (though it may make others squirm). There are others with an opposite balance: they may have a good ear, be finely sensitive to the formal nuances of music, but nevertheless do not care for it greatly or consider it a significant part of their lives. That one may be quite “musical” and yet almost indifferent to music, or almost tone-deaf yet passionately sensitive to music, is quite striking. While”
― Oliver Sacks, quote from Musicophilia: Tales of Music and the Brain

“Cortical maps are dynamic, and can change as circumstances alter. Many of us have experienced this, getting a new pair of glasses or a new hearing aid. At first the new glasses or hearing aids seem intolerable, distorting - but within days or hours, our brain adapts to them, and we can make full use of our new new optically or acoustically improved senses. It is similar with the brain's mapping of the body image, which adapts quite rapidly if there are changes in the sensory input or the use of the body.”
― Oliver Sacks, quote from Musicophilia: Tales of Music and the Brain

“In his book The Singing Neanderthals: The Origins of Music, Language, Mind and Body, Steven Mithen takes this idea further, suggesting that music and language have a common origin, and that a sort of combined protomusic-cum-protolanguage was characteristic of the Neanderthal mind.62 This sort of singing language of meanings, without individual words as we understand them, he calls Hmmm (for holistic-mimetic-musical-multimodal)—and it depended, he speculates, on a conglomeration of isolated skills, including mimetic abilities and absolute pitch.”
― Oliver Sacks, quote from Musicophilia: Tales of Music and the Brain

Video

About the author

Popular quotes

“His heart is weak, but his will is strong-more so now than ever,” he continued, shrugging into the light cape Ormsley was putting over his shoulders.
“What do you mean, ‘more now than ever’?”
The physician smiled in surprise. “Why, I meant that your coming here has meant a great deal to him, my lord. It’s had an amazing effect on him-well, not amazing, really. I should say a miraculous effect. Normally he rails at me when he’s ill. Today he almost hugged me in his eagerness to tell me you were here, and why. Actually, I was ordered to “have a look at you,” he continued in the confiding tone of an old family friend, “although I wasn’t supposed to tell you I was doing so, of course.” Grinning, he added, “He thinks you are a ‘handsome devil.’”
Ian refused to react to that admonishing information with any emotion whatsoever.
“Good day, my lord,” the doctor said. Turning to the duke’s sisters, who’d been hovering worriedly in the hall, he tipped his hat. “Ladies,” he said, and he departed.
“I’ll just go up and look in on him,” Hortense announced. Turning to Charity, she said sternly, “Do not bore Ian with too much chatter,” she admonished, already climbing the stairs. In an odd, dire voice, she added, “And do not meddle.”
For the next hour Ian paced the floor, with Charity watching him with great interest. The one thing he did not have was time, and time was what he was losing. At this rate Elizabeth would be giving birth to her first child before he got back to London.”
― Judith McNaught, quote from Almost Heaven

“King Nicholas had explained the lense box to”
― Eoin Colfer, quote from Airman

“Music (is) woven into the fabric of the corporeal world.”
― Kate Mosse, quote from Sepulchre

“I will go home and much of what I will have to say will seem strange to the people of my village... But I will teach and work and things will happen, slowly and swiftly. At times it will seem that nothing changes at all... and then again... the sudden dramatic events which make history leap into the future. And then quiet again. Retrogression even. Guns, murder, revolution. And I even will have moments when I wonder if the quiet was not better than all that death and hatred. But I will look about my village at the illiteracy and disease and ignorance and will not wonder long. And perhaps... perhaps I will be a great man... I mean perhaps I will hold on to the substance of truth and find my way always with the right course... and perhaps for it I will be butchered in my bed some night by the servants of empire...

...perhaps the things I believe now for my country will be wrong and outmoded, and I will not understand and do terrible things to have things my way or merely to keep my power. Don't you see that there will be young men and women, not British soldiers then, but my own black countrymen... to step out of the shadows some evening and slit my then useless throat? Don't you see they have always been there... that they always will be. And that such a thing as my own death will be an advance? They who might kill me even... actually replenish me!”
― Lorraine Hansberry, quote from A Raisin in the Sun

“Every new experience is unusual. The rest of life is just sleep and committee meetings.”
― John Twelve Hawks, quote from The Traveler

Interesting books

About BookQuoters

BookQuoters is a community of passionate readers who enjoy sharing the most meaningful, memorable and interesting quotes from great books. As the world communicates more and more via texts, memes and sound bytes, short but profound quotes from books have become more relevant and important. For some of us a quote becomes a mantra, a goal or a philosophy by which we live. For all of us, quotes are a great way to remember a book and to carry with us the author’s best ideas.

We thoughtfully gather quotes from our favorite books, both classic and current, and choose the ones that are most thought-provoking. Each quote represents a book that is interesting, well written and has potential to enhance the reader’s life. We also accept submissions from our visitors and will select the quotes we feel are most appealing to the BookQuoters community.

Founded in 2023, BookQuoters has quickly become a large and vibrant community of people who share an affinity for books. Books are seen by some as a throwback to a previous world; conversely, gleaning the main ideas of a book via a quote or a quick summary is typical of the Information Age but is a habit disdained by some diehard readers. We feel that we have the best of both worlds at BookQuoters; we read books cover-to-cover but offer you some of the highlights. We hope you’ll join us.