1. In the preface Sacks presents differing views on the origins
and evolution of the music instinct. On first reading, which
explanation is the most persuasive? Did the book change or confirm
your opinion?
2. Discuss the style and structure of
Musicophilia. How does Sacks blend personal
anecdotes, case histories, theories, and empirical research into an
engaging narrative? How does he bring out the humanity of the
patients he describes? What do the explanations of complex brain
functions add to the portraits of each individual?
3. Tony Cicoria "grew to think [that he] . . . had been
transformed and given a special gift, a mission, to ''tune in'' to
the music that he called, half metaphorically, ''the music from
heaven''"[p. 7]. Is art by its very nature a "spiritual" endeavor?
Does Sacks''s conclusion that "even the most exalted states of
mind, the most astounding transformations, must have some physical
basis or at least some physiological correlate in neural activity"
[p. 12] belittle the value of artistic expression?
4. In chapter four (Music on the Brain: Imagery and Imagination)
and chapter five (Brainworms, Sticky Music, and Catchy Tunes),
Sacks explores normal musical imagery, which almost everyone
experiences, and the pathological version, when "music repeats
itself incessantly, sometimes maddeningly, for days on end" [p.
44]. Do his explanations of the psychological and neurological
components of these phenomena support his suggestion that people
are more susceptible to brainworms today because of the
pervasiveness of music in our lives [p. 53]? Does Anthony Storr''s
theory that even unwanted music has a positive effect [p. 42]
mitigate Sacks''s darker outlook?
5. The stories of musical hallucinations demonstrate the
disruptive power of music [pp. 54-92]. Using these stories as a
starting point, discuss the distinction between the "brain" and the
"mind." What accounts for the different ways people react to
involuntary mental intrusions? What do the various coping
mechanisms people employ reveal about biological determination and
the exercise of choice and free will?
6. "Musicality comprises a great range of skills and
receptivities, from the most elementary perceptions of pitch and
tempo to the highest aspects of musical intelligence and
sensibility…" [p. 104]. What do Sacks''s descriptions of extreme
conditions like amusia and disharmonia show about the many
factors-neurological, cultural, and experiential-that shape an
individual''s response to music?
7. Sacks also introduces people who represent the "highest
aspects of musical intelligence and sensibility." What insights do
these examples of extraordinary or unusual gifts offer into average
musical sensibilities? What do his examinations of absolute pitch
and synesthesia, as well as his stories about musical savants and
the high level of musicality among blind people, reveal about the
brain''s innate strengths and weaknesses?
8. The story of Clive Wearing is one of the most memorable tales
in Musicophilia. While it illustrates the
persistence of musical memory with clarity and precision, it is
much more than a well-written "case history." How does Sacks
capture the emotional impact of Wearing''s devastating amnesia
without descending into melodrama or sentimentality? What details
help create a sense of Wearing as a distinct and sympathetic
individual? What is the significance of Deborah''s description of
Clive''s "at-homeness in music" and their continuing love for one
another [p. 228]?
9. Music therapy is used to treat conditions ranging from
Parkinson''s and other movement disorders to Alzheimer''s and other
forms of dementia. In what ways does music therapy represent the
perfect intersection of scientific knowledge and deep-seated
personality traits like intuition, creativity, and compassion?
10. The relationship between music and universal human
activities is a central theme in Musicophilia.
Sacks writes, for instance, "The embedding of words, skills, or
sequences in melody and meter is uniquely human. The usefulness of
such an ability to recall large amounts of information,
particularly in preliterate culture, is surely one reason why
musical abilities have flourished in our species" [p. 260]. Drawing
on the stories and studies presented in
Musicophilia and on your own experiences, discuss
the roles music plays in human society. Talk about its importance
in creating a sense of community, evoking spiritual or religious
feelings, and stimulating sexual desire, for example.
11. In a review for The New York Review of Books [March
6, 2008] Colin McGinn noted "Sacks generally confines himself to
classical music, saying little specifically about jazz and rock
music." How do the emotional, psychological, and physical reactions
to popular music differ from those elicited by classical music? Do
you think a familiarity with or preference for certain kinds of
music might influence a reader''s reaction to
Musicophilia?
12. What does Musicophilia show about
science''s ability to resolve intriguing quirks and mysteries? What
do the new technology Sacks describes portend for future
discoveries about how the brain works?
13. Does Musicophilia offer a new way of
understanding what makes us human? Which facts, theories, or
speculations did you find particularly compelling?