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Sacks Alucinações Musicais.Pdf Copyright © 2007 by Oliver Sacks Trecho de "Music", letra e música de Carole King, reproduzido com a permissão de Hal Leonard Corporation. Para Orrin Devinsky, Copyright © 1971 (renovado em 1999) by ColgenS-EMI Music Inc. Ralph Siegel e Connie Tomaino Grajia atualizada segundo o Acordo Ortográjico da Língua Portuguesa de 1990, que entrou em vigor no Brasil em 2009. Título original Musicophilia - Tales of music and the brain Capa Hélio de Almeida sobre ilustração de Zaven Paré Preparação Lucila Lombardi Índice remissivo Luciano Marchiori Revisão Ana Maria Barbosa Marise S. Leal Otacílio Nunes Atualização ortográfica Jane Pessoa Dados Internacionais de Catalogação na Publicação (CIP) (Câmara Brasileira do Livro. SP, Brasil) Sacks,Oliver Alucinações musicais: relatos sobre a música e o cérebro I Oliver Sacks ; tradução Laura Teixeira Mctta - São Paulo: Companhia das Letras, 2007. Título original: Musicophilia : Tales of music and the brain. Bibliografia. ISBN 978-85-359-1091-9 I. Música _ Aspectos fisiológicos 2. Música - Aspectos psicológicos 3. Neurologia 4. Psicologia I. Título. CDD-781.1 1 07-7024 Índice para catálogo sistemático: Música: Principios psicológicos: Artes 781.11 2011 Todos os direitos desta edição reservados à EDITORA SCHWARCZ LTOA. Rua Bandeira Paulista 702 cj. 32 04532-002 - São Paulo - SP Telefone: (11) 3707-3500 Fax: (lI) 3707-3501 www.companhiadasletras.com.br www.blogdacompanhia.com.br PREFÁCIO Que coisa mais estranha é ver toda uma espécie, bilhões de pessoas, ouvindo padrões tonais sem sentido, brincando com eles, absortas, arrebatadas durante boa parte de seu tempo pelo que cha- mam de "música". Pelo menos essa é uma das características dos sereshumanos que intrigaram os Senhores Supremos, os extrater- restres cerebrais da ficção científica Ofim da infância, de Arthur C. Clarke. Eles descem à Terra curiosos para assistir a um con- certo, ouvem educadamente e, no [mal, cumprimentam o compo- 7 sitor por seu "grande engenho", muito embora aquilo tudo conti- 1 nue ininteligível para eles. Não conseguem conceber o que ocorre 87 com os humanos quando fazem ou ouvem música porque com eles, alienígenas, nada acontece. São uma espécie sem música. Podemos imaginar os Senhores Supremos de volta às espaço- naves, ainda matutando. Essa tal de "música", teriam de admitir, é de alguma eficácia para os humanos, é fundamental na vida deles. E no entanto não tem conceitos, não faz proposições, carece de imagens, de símbolos, essências da linguagem. Não possui poder de representação. Não tem relação necessária com o mundo. Existem alguns raros humanos que, assim como os Senhores Supremos, são desprovidos do equipamento neural para apreciar tons ou melodias. Sobre a imensa maioria de nós, porém, a música exerce um grande poder, quer o busquemos, quer não, e isso ocorre inclusive com quem não se considera particularmente "musical". Essa inclinação para a música - essa "musicofilia" - revela-se na primeira infância, é manifesta e essencial em todas as culturas e provavelmente remonta aos primórdios da nossa espécie. Ela pode ser desenvolvida ou moldada pela cultura ·10· 11· em que vivemos, pelas circunstâncias da vida e pelos talentos ou pelo uso, recrutamento ou cooptação de sistemas deficiências espláficos que temos como indivíduos. Mas é tão se desenvolveram para outros propósitos. Isso arraigada na natureza humana que somos tentados a considerá-Ia com o fato de que não existe um único "centro inata, tanto quanto E. O. Wilson considerava inata a "biofilia", bro humano, e sim o envolvimento de uma dúzia nosso sentimento pelos seres vivos. (Talvez a musicofilia seja sas por todo o cérebro. Stephen Jay Gould, o prim uma forma de biofilia, pois a própria música quase dá a impressão diretamente a tão debatida questão das mudançâ de que é um ser vivo.) vas, fala em "exadaptações" nesse sentido, em v O canto dos pássaros, embora tenha usos adaptativos óbvios (na - e destaca a música como um exemplo claro corte, agressão ou demarcação de território, por exemplo), é relativa- (William James provavelmente pensava em a mente fixo em sua estrutura e, em grande medida, tem uma estrutura quando escreveu que nossa suscetibilidade à inata no sistema nervoso da ave (embora alguns raros pássaros cano- aspectos de "nossa vida estética, moral e intel ros pareçam improvisar ou cantar em dueto). Ja a origem da música teriam entrado na mente "pela porta dos fundos". humana émenos fácil de compreender. Opróprio Darwinmostrou-se Entretanto, independentemente de tudo iss perplexo quando escreveu em A descendência do homem: "Como ~ue as faculdades e suscetibilidades musicais ~ nem o deleite nem a capacidade de produzir notas musicais são facul- matas ou subprodutos de outras faculdades e pli dades que tenham o menor uso para o homem [... ] devem ser classi- música permanece fundamental e central em toda ficadas entre as mais misteriosas com as quais ele é dotado". Em Nós, humanos, somos uma espécie musical a nossa época, Steven Pinker referiu-se à música como um "cheese- tica. Isso assume muitas formas. Todos nós (co~ cake auditivo", e perguntou: "Que benefício poderia haver em des- exceções) somos capazes de perceber música, t01 viar tempo e energia para produzir ruídos plangentes? [ ] No que v~los en~re notas, contor?os melódicos, harmo~ diz respeito a causas e efeitos biológicos, a música é inútil. [ ]Pode- nível mais fundamental, ntmo. Integramos isso tu ria desaparecer da nossa espécie, e o resto de nosso estilo de vida mos" a música na mente usando muitas partes do permaneceria praticamente inalterado". Embora Pinker seja uma apreciação estrutural, em grande medida incons pessoa muito musical e decerto sentiria que sua vida ficaria muito na-se uma reação muitas vezes intensa e profunda mais pobre na ausência da música, não acredita que ela, ou qualquer nal. "A inexprimível profundidade da música", ese outra das artes, sejam adaptações evolucionárias diretas. Em um nhauer, "tão fácil de entender e no entanto tão artigo de 2007, ele aventou: deve-se ao fato de que ela reproduz todas as erJ íntimo do nosso ser, mas sem a realidade e distan muitas das artes talvez não tenham nenhuma função adaptativa. música expressa apenas a quintessência da vida Talvez sejam subprodutos de duas outras características: sistemas nunca a vida e os eventos em si". motivacionais que nos dão prazer quando vivenciam os sinais que Ouvir música não é apenas algo auditivo e e se correlacionam com resultados adaptativos (segurança, sexo, bém motor. "Ouvimos música com nossos rmíscul estima, meios ricos em informações) e o know-how tecnológico escreveu. Acompanhamos o ritmo da música, invo para criar doses purificadas e concentradas desses sinais. mesmo se não estivermos prestando atenção a e mente, e nosso rosto e postura espelham a "narrati: Pinker (assim como outros) supõe que nossas faculdades e os pensamentos e sentimentos que ela provoca. musicais - ou pelo menos algumas delas - são possibilitadas Boa parte do que ocorre durante a percepção ( ·11· pelouso,recrutamento ou cooptação de sistemas cerebrais que já se desenvolveram para outros propósitos. Isso poderia condizer como fato de que não existe um único "centro musical" no cére- brohumano,e sim o envolvimento de uma dúzia de redes disper- sasportodo o cérebro. Stephen Jay Gould, o primeiro a enfrentar diretamentea tão debatida questão das mudanças não adaptati- vas,falaem "exadaptações" nesse sentido, em vez de adaptações - e destaca a música como um exemplo claro de exadaptação. (William James provavelmente pensava em algo semelhante quando escreveu que nossa suscetibilidade à música e outros aspectosde "nossa vida estética, moral e intelectual superior" teriamentrado na mente "pela porta dos fundos".) Entretanto, independentemente de tudo isso - do grau em que as faculdades e suscetibilidades musicais humanas sejam inatasou subprodutos de outras faculdades e propensões -, a músicapermanece fundamental e central em todas as culturas. Nós,humanos, somos uma espécie musical além de linguís- tica.Isso assume muitas formas. Todos nós (com pouquíssimas exceções)somos capazes de perceber música, tons, timbre, inter- valosentre notas, contornos melódicos, harmonia e, talvez no nívelmaisfundamental, ritmo. Integramos isso tudo e "construí- mos"amúsicana mente usando muitas partes do cérebro. Ea essa apreciaçãoestrutural, em grande medida inconsciente, adicio- na-seumareação muitas vezes intensa e profundamente emocio- nal."Ainexprimívelprofundidade da música", escreveu Schope- nhauer, "tão fácil de entender e no entanto tão inexplicável, deve-seao fato de que ela reproduz todas as emoções do mais íntimodo nosso ser, mas sem a realidade e distante da dor. [...] A músicaexpressa apenas a quintessência da vida e dos eventos, nuncaa vida e os eventos em si". Ouvirmúsica não é apenas algo auditivo e emocional, é tam- bémmotor."Ouvimos música com nossos músculos", Nietzsche escreveu.Acompanhamos o ritmo da música, involuntariamente, mesmo se não estivermos prestando atenção a ela consciente- mente,e nossorosto e postura espelham a "narrativa" da melodia e os pensamentose sentimentos que ela provoca. Boaparte do que ocorre durante a percepção da música tam- ·12· ·13· bém pode ocorrer quando a música é "tocada na mente". A ima- que pode nos afetar a todos. A música pode nos a ginação de uma música, mesmo nas pessoas relativamente não consolar, emocionar. Pode nos ajudar a obter orgs musicais, tende a ser notavelmente fiel não só ao tom e ao senti- cronia quando estamos trabalhando ou nos dive mento do original, mas também à altura e ao ritmo. A base disso pacientes com várias doenças neurológicas ela é a extraordinária tenacidade da memória musical, graças à qual mais poderosa e ter imenso potencial terapêutica boa parte do que ouvimos nos primeiros anos de vida pode ficar podem responder intensamente e de maneira esp~ "gravado" no cérebro pelo resto de nossa existência. O fato é que . (e, às vezes, a mais nada). Alguns desses pacientes o nosso sistema auditivo, nosso sistema nervoso, é primorosa- corticais difusos, decorrentes de acidentes vascul mente sintonizado para a música.
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