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Daniel Joseph Levitin, FRSC (born December 27, 1957) is an American-Canadian polymath, [1] cognitive psychologist, neuroscientist, writer, musician, and record producer. [2] He is the author of four New York Times best-selling books, including This Is Your Brain on Music: The Science of a Human Obsession , (Dutton/Penguin 2006; Plume/Penguin ...
Reviewers of A Field Guide to Lies have found the book to be an entertaining, timely, useful primer for "critical thinking in the information age." [8] [10] It was listed on bestseller lists in Canada and received the Mavis Gallant Prize for Non-Fiction, presented by the Quebec Writers' Federation in the same year it was published.
The Organized Mind: Thinking Straight in the Age of Information Overload is a bestselling popular science book written by the McGill University neuroscientist Daniel J. Levitin, PhD, and first published by Dutton Penguin in the United States and Canada in 2014. [1]
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.
If so then Deceived Wisdom is the book for you. Organised into easy-to-read standalone sections, it looks at the things we think we know and examines why we don’t know them at all. There is much deceived wisdom in the world – from fit-ness fallacies to dietary deceptions and countless miscellane-ous misconceptions.
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.
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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.