Music and the Mind

Music and the Mind
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Anthony Storr. Music and the Mind

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Contents

Introduction

CHAPTER I ORIGINS AND COLLECTIVE FUNCTIONS

CHAPTER II MUSIC, BRAIN AND BODY

CHAPTER III BASIC PATTERNS

CHAPTER IV SONGS WITHOUT WORDS

CHAPTER V ESCAPE FROM REALITY?

CHAPTER VI THE SOLITARY LISTENER

CHAPTER VII THE INNERMOST NATURE OF THE WORLD

CHAPTER VIII A JUSTIFICATION OF EXISTENCE

CHAPTER IX THE SIGNIFICANCE OF MUSIC

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References. INTRODUCTION

CHAPTER I

CHAPTER II

CHAPTER III

CHAPTER IV

CHAPTER V

CHAPTER VI

CHAPTER VII

CHAPTER VIII

CHAPTER IX

Bibliography

Index

Acknowledgements

About the Author. MUSIC AND THE MIND

By the Same Author

About the Publisher

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ANTHONY STORR

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As Isaiah Berlin points out, all the metaphors listed above are taken from the human body. When human beings looked upon the external world and tried to describe it, it was natural that they did so in terms of their own subjective, physical experience. The language of science had not yet become dissociated from the language of poetry and music, and the notion that the phenomena of the external world could only be understood if anthropomorphism was excluded had not yet developed. The behaviourist idea that human beings can only properly be comprehended when their actions are observed with scientific objectivity rather than assessed by means of empathic understanding was far in the future. Vico would have agreed with John Blacking in supposing that a people’s music is one important key to understanding their culture and their relationships.

In ancient Greece, which is usually considered to be the birthplace of Western civilization, music was both ubiquitous and supremely important. Although we know little about how Greek music actually sounded, classical scholars refer to it as ‘an art which was woven into the very texture of their lives’.25

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