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This Is Your Brain on Music: the Science of a Human Obsession

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This Is Your Brain on Music: the Science of a Human Obsession 18828_00_i-vi_r7kp.qxd 5/23/06 3:16 PM Page i 1 2 3 THIS IS YOUR BRAIN ON 4 5 6 ~~MUSIC 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 S 33 R 34 4th Pass Pages 18828_00_i-vi_r7kp.qxd 5/23/06 3:16 PM Page iii 1 2 3 THIS IS YOUR BRAIN ON 4 5 6 7 8 ~~MUSIC 9 10 11 The Science of a Human Obsession 12 13 14 15 16 17 Daniel J. Levitin 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 S 33 DUTTON R 34 4th Pass Pages DUTTON Published by Penguin Group (USA) Inc. 375 Hudson Street, New York, New York 10014, U.S.A. Penguin Group (Canada), 90 Eglinton Avenue East, Suite 700, Toronto, Ontario M4P 2Y3, Canada (a division of Pearson Penguin Canada Inc.); Penguin Books Ltd, 80 Strand, London WC2R 0RL, England; Penguin Ireland, 25 St Stephen’s Green, Dublin 2, Ireland (a division of Penguin Books Ltd); Penguin Group (Australia), 250 Camberwell Road, Camberwell, Victoria 3124, Australia (a division of Pearson Australia Group Pty Ltd); Penguin Books India Pvt Ltd, 11 Community Centre, Panchsheel Park, New Delhi – 110 017, India; Penguin Group (NZ), cnr Airborne and Rosedale Roads, Albany, Auckland 1310, New Zealand (a division of Pearson New Zealand Ltd); Penguin Books (South Africa) (Pty) Ltd, 24 Sturdee Avenue, Rosebank, Johannesburg 2196, South Africa Penguin Books Ltd, Registered Offices: 80 Strand, London WC2R 0RL, England Published by Dutton, a member of Penguin Group (USA) Inc. First electronic edition, August 2006 10 9 8 7 6 5 4 3 2 1 Copyright © 2006 by Daniel J. Levitin All rights reserved REGISTERED TRADEMARK—MARCA REGISTRADA LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA Levitin, Daniel J. This is your brain on music : the science of a human obsession / Daniel J. Levitin. p. cm. Includes bibliographical references and index. MSR ISBN 0-7865-8404-1 AEB ISBN 0-7865-8405-X Set in ITC Century Book Without limiting the rights under copyright reserved above, no part of this publication may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form, or by any means (electronic, mechanical, photocopying, recording, or otherwise), without the prior written permission of both the copyright owner and the above publisher of this book. The scanning, uploading, and distribution of this book via the Internet or via any other means without the permission of the publisher is illegal and punishable by law. Please purchase only authorized electronic editions, and do not participate in or encourage electronic piracy of copyrighted materials. Your support of the author’s rights is appreciated. While the author has made every effort to provide accurate telephone numbers and Internet addresses at the time of publication, neither the publisher nor the author assumes any responsibility for errors, or for changes that occur after publication. Further, the publisher does not have any control over and does not assume any responsibility for author or thirdparty Web sites or their content. Making or distributing electronic copies of this book constitutes copyright infringement and could subject the infringer to criminal and civil liability. www.us.penguingroup.com 18828_00_i-vi_r7kp.qxd 5/23/06 3:16 PM Page v ONTENTS 1 C 2 3 4 5 6 7 8 9 10 11 12 13 14 Introduction co 15 I Love Music and I Love Science—Why Would I Want 16 to Mix the Two? 1 17 18 1. What Is Music? 19 From Pitch to Timbre 13 20 2. Foot Tapping 21 Discerning Rhythm, Loudness, and Harmony 55 22 23 3. Behind the Curtain 24 Music and the Mind Machine 81 25 4. Anticipation 26 What We Expect From Liszt (and Ludacris) 109 27 28 5. You Know My Name, Look Up the Number 29 How We Categorize Music 129 30 6. After Dessert, Crick Was Still Four Seats Away from Me 31 Music, Emotion, and the Reptilian Brain 165 32 S 33 R 34 4th Pass Pages 18828_00_i-vi_r7kp.qxd 5/23/06 3:16 PM Page vi vi Contents 1 7. What Makes a Musician? 2 Expertise Dissected 189 3 8. My Favorite Things 4 Why Do We Like the Music We Like? 217 5 6 9. The Music Instinct 7 Evolution’s #1 Hit 241 8 Appendices 263 9 10 Bibliographic Notes 271 11 Acknowledgments 301 12 13 Index 303 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 S 34 R 4th Pass Pages 18828_01_1-270_r9kp.qxd 5/23/06 3:17 PM Page 1 1 Introduction 2 3 I Love Music and I Love Science— 4 Why Would I Want to Mix the Two? 5 6 7 I love science, and it pains me to think that so many are terrified of the 8 subject or feel that choosing science means you cannot also choose 9 compassion, or the arts, or be awed by nature. Science is not meant to cure us of mystery, but to reinvent and reinvigorate it. 10 —Robert Sapolsky, Why Zebras Don’t Get Ulcers, p. xii 11 12 13 14 n the summer of 1969, when I was eleven, I bought a stereo system at co 15 Ithe local hi-fi shop. It cost all of the hundred dollars I had earned 16 weeding neighbors’ gardens that spring at seventy-five cents an hour. 17 I spent long afternoons in my room, listening to records: Cream, the 18 Rolling Stones, Chicago, Simon and Garfunkel, Bizet, Tchaikovsky, 19 George Shearing, and the saxophonist Boots Randolph. I didn’t listen 20 particularly loud, at least not compared to my college days when I actu- 21 ally set my loudspeakers on fire by cranking up the volume too high, but 22 the noise was evidently too much for my parents. My mother is a novel- 23 ist; she wrote every day in the den just down the hall and played the pi- 24 ano for an hour every night before dinner. My father was a businessman; 25 he worked eighty-hour weeks, forty of those hours in his office at home 26 on evenings and weekends. Being the businessman that he was, my fa- 27 ther made me a proposition: He would buy me a pair of headphones if I 28 would promise to use them when he was home. Those headphones for- 29 ever changed the way I listened to music. 30 The new artists that I was listening to were all exploring stereo mix- 31 ing for the first time. Because the speakers that came with my hundred- 32 dollar all-in-one stereo system weren’t very good, I had never before S 33 heard the depth that I could hear in the headphones—the placement of R 34 4th Pass Pages 18828_01_1-270_r9kp.qxd 5/23/06 3:17 PM Page 2 2 Introduction 1 instruments both in the left-right field and in the front-back (reverber- 2 ant) space. To me, records were no longer just about the songs anymore, 3 but about the sound. Headphones opened up a world of sonic colors, a 4 palette of nuances and details that went far beyond the chords and 5 melody, the lyrics, or a particular singer’s voice. The swampy Deep South 6 ambience of “Green River” by Creedence, or the pastoral, open-space 7 beauty of the Beatles’ “Mother Nature’s Son”; the oboes in Beethoven’s 8 Sixth (conducted by Karajan), faint and drenched in the atmosphere of a 9 large wood-and-stone church; the sound was an enveloping experience. 10 Headphones also made the music more personal for me; it was suddenly 11 coming from inside my head, not out there in the world. This personal 12 connection is ultimately what drove me to become a recording engineer 13 and producer. 14 Many years later, Paul Simon told me that the sound is always what 15 he was after too. “The way that I listen to my own records is for the 16 sound of them; not the chords or the lyrics—my first impression is of the 17 overall sound.” 18 I dropped out of college after the incident with the speakers in my 19 dorm room, and I joined a rock band. We got good enough to record at a 20 twenty-four-track studio in California with a talented engineer, Mark 21 Needham, who went on to record hit records by Chris Isaak, Cake, and 22 Fleetwood Mac. Mark took a liking to me, probably because I was the 23 only one interested in going into the control room to hear back what we 24 sounded like, while the others were more interested in getting high in be- 25 tween takes. Mark treated me like a producer, although I didn’t know 26 what one was at the time, asking me what the band wanted to sound like. 27 He taught me how much of a difference to the sound a microphone could 28 make, or even the influence of how a microphone was placed. At first, I 29 didn’t hear some of the differences he pointed out, but he taught me 30 what to listen for. “Notice that when I put this microphone closer to the 31 guitar amp, the sound becomes fuller, rounder, and more even; but when 32 I put it farther back, it picks up some of the sound of the room, giving it 33 S a more spacious sound, although you lose some of the midrange if I do 34 R that.” 4th Pass Pages 18828_01_1-270_r9kp.qxd 5/23/06 3:17 PM Page 3 Introduction 3 Our band became moderately well known in San Francisco, and our 1 tapes played on local rock radio stations.
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