A remarkable story of dogged determination to prove his own body wrong and, as such, is one of the more illuminating cultural studies of modern times.
Bad Singer
The Surprising Science of Tone Deafness and How We Hear Music
Description
In the tradition of Daniel Levitin’s This Is Your Brain on Music and Oliver Sacks’ Musicophilia, Bad Singer follows the delightful journey of Tim Falconer as he tries to overcome tone deafness — and along the way discovers what we’re really hearing when we listen to music.
Tim Falconer, a self-confessed “bad singer,” always wanted to make music, but soon after he starts singing lessons, he discovers that he’s part of only 2.5 percent of the population afflicted with amusia — in other words, he is scientifically tone-deaf.
Bad Singer chronicles his quest to understand human evolution and music, the brain science behind tone-deafness, his search for ways to retrain the adult brain, and his investigation into what we really hear when we listen to music. In an effort to learn more about his brain disorder, he goes to a series of labs where the scientists who test him are as fascinated with him as he is with them. He also sets out to understand why we love music and deconstructs what we really hear when we listen to it. And he unlocks the secret that helps explain why music has such emotional power over us.
Reviews
Falconer is old school in his traditional approach to journalism. He conducts lengthy interviews and fluidly articulates complex scientific concepts. He’s the protagonist yet he doesn’t digress into self-indulgence. The result is fresh, intelligent prose. While he may be a bad singer, he’s a thorough researcher and gifted raconteur. What Falconer lacks in pitch he makes up for in curiosity and passion.
An engaging, step-by-step look into how scientists study tone deafness . . . an essential tale about how human beings, even those of us with tin ears, can’t help but be drawn to music . . . Over the last decade there have been a number of books published about the science of music — such as Daniel Levitan’s This Is Your Brain on Music, Oliver Sacks’s Musicophilia, and David Byrne’s How Music Works — and Bad Singer is a doubly successful effort because it doesn’t retread the same ground of these books, with Falconer couching his subject in a personal journey that’s enjoyable to follow.
Bad Singer deftly combines a memoir of Falconer’s personal musical history with a scientific look into how humans hear music.
