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This Is Your Brain on Music: The Science of a Human Obsession is a popular science book written by the McGill University neuroscientist Daniel J. Levitin, and first published by Dutton Penguin in the U.S. and Canada in 2006, and updated and released in paperback by Plume/Penguin in 2007.
The World in Six Songs: How the Musical Brain Created Human Nature is a popular science book written by the McGill University neuroscientist Daniel J. Levitin, and first published by Dutton Penguin in the U.S. and Canada in 2008, and updated and released in paperback by Plume in 2009, and translated into six languages.
His six books have all been international bestsellers, and collectively have sold more 3 million copies worldwide: This Is Your Brain on Music: The Science of a Human Obsession (2006), [7] [8] [9] The World in Six Songs: How the Musical Brain Created Human Nature (2008), The Organized Mind: Thinking Straight in the Age of Information Overload ...
Songbook (Nick Hornby book) Songs in the Key of Z; Songs of Praise (hymnal) The Songs of the Tyne by Walker; Sound Bites: Eating on Tour with Franz Ferdinand; Sounds Like London; A Southern Music: The Karnatik Story; Space Opera (1996 anthology) Stephen Fry's Incomplete and Utter History of Classical Music; The Stereo Record Guide; The Story of ...
Jourdain, R. (1997). Music, the brain, and ecstasy. New York: Harper Collins. —A far-reaching study of how music captivates us so completely and why we form such powerful connections to it. Leading us to an understanding of the pleasures of sound, Robert Jourdain draws on a variety of fields including science, psychology, and philosophy.
Daniel Levitin has criticized Pinker for referring to music as an "auditory cheesecake" in the book. [4] In his book This Is Your Brain on Music (2006), Levitin takes some time in the last chapter to rebut Pinker’s arguments. When asked about Levitin's book by New York Times journalist Clive Thompson, Pinker said he hadn't read it. [5]
The Levitin effect is a phenomenon whereby people, even those without musical training, tend to remember songs in the correct key.The finding stands in contrast to the large body of laboratory literature suggesting that such details of perceptual experience are lost during the process of memory encoding, so that people would remember melodies with relative pitch, rather than absolute pitch.
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