Music and the Mind
Why does music have such a powerful effect on our minds and bodies? It is the most mysterious and most intangible of all forms of art. Yet, Anthony Storr believes, music today is a deeply significant experience for a greater number of people than ever before. In this challenging book, he explores why this should be so. Music is a succession of tones through time. How can a sequence of sounds both express emotion and evoke it in the listener? Drawing on a wide variety of opinions, Storr argues that the patterns of music make sense of our inner experience, giving both structure and coherence to our feelings and emotions. Dr. Storr was a practicing psychiatrist for nearly forty years and is a distinguished thinker about the sources of creativity. He is deeply concerned with the psychology of the creative process and with the healing power of the arts. Here he explains how, in a culture which requires us in our daily working lives to separate rational thought from feelings, music reunites the mind and body, restoring our sense of personal wholeness. It is because music possesses this capacity that many people, including the author, find it so life-enhancing that it justifies existence. Dr. Storr's investigation of music is also an exploration of the human psyche. That is why this book, like all his work, deepens our understanding of ourselves and the lives we lead.
What people are saying - Write a review
We haven't found any reviews in the usual places.
a Music Brain and Body
HI Basic Patterns
Songs Without Words
5 other sections not shown
Other editions - View all
aesthetic appreciation arousal Arthur Schopenhauer artists auditory become Beethoven's believe bird-song Birth of Tragedy body brain chapter Charles Rosen claim composer composer's concerned creative culture Deryck Cooke edited emotional example experience express external world feelings Freud Friedrich Nietzsche function G. H. Hardy harmonic series Haydn hear human Ibid idea Igor Stravinsky individual inner instrument Jung language linked listening to music London Malcolm Budd mathematics means melody mental mind movement musicians nature Nietzsche's objective octave originally Oxford particular patterns pentatonic scale perceive perception performance phantasy philosopher physical piece of music pitch Plato play pleasure poetry psychoanalysts R. J. Hollingdale reality referred relation religious rhythm rhythmic scale Schopenhauer's sense sexual significance singing sonata form song sounds speech Stravinsky structure suggests Symphony theory thought tion tonal tones tragedy unconscious understand University Press voice Volume Wagner Walter Kaufmann Western whilst words writes wrote