This post has written in honor of Oliver Sacks, an eminent neurologist, who wrote: “The power of music to integrate and cure … is quite fundamental. It is the profoundest non-chemical medication.”
Sacks's work helped provide the foundation on which the Institute for Music and Neurologic Function (IMNF) is built. In 2000, IMNF honored Sacks with its first Music Has Power Award. The IMNF again bestowed a Music Has Power Award on Sacks in 2006 to commemorate his 40 years at Beth Abraham and honor his outstanding contributions in support of music therapy and the effect of music on the human brain and mind.
Oliver Sacks was born in 1933 in London, England, into a family of physicians and scientists (his mother was a surgeon and his father a general practitioner). He earned his medical degree at Oxford University (Queen’s College), and did residencies and fellowship work at Mt. Zion Hospital in San Francisco and at UCLA. Since 1965, he has lived in New York, where he is a practicing neurologist. In July of 2007, he was appointed Professor of Neurology and Psychiatry at Columbia University Medical Center, and he was also designated the university’s first Columbia University Artist.
In 1966 Dr. Sacks began working as a consulting neurologist for Beth Abraham Hospital in the Bronx, a chronic care hospital where he encountered an extraordinary group of patients, many of whom had spent decades in strange, frozen states, like human statues, unable to initiate movement. He recognized these patients as survivors of the great pandemic of sleepy sickness that had swept the world from 1916 to 1927, and treated them with a then-experimental drug, L-dopa, which enabled them to come back to life. They became the subjects of his book Awakenings, which later inspired a play by Harold Pinter (“A Kind of Alaska”) and the Oscar-nominated feature film (“Awakenings”) with Robert De Niro and Robin Williams.
Sacks is perhaps best known for his collections of case histories from the far borderlands of neurological experience, The Man Who Mistook His Wife for a Hat and An Anthropologist on Mars, in which he describes patients struggling to live with conditions ranging from Tourette’s syndrome to autism, parkinsonism, musical hallucination, epilepsy, phantom limb syndrome, schizophrenia, retardation, and Alzheimer’s disease. He has investigated the world of Deaf people and sign language in Seeing Voices, and a rare community of colorblind people in The Island of the Colorblind. He has written about his experiences as a doctor in Migraine and as a patient in A Leg to Stand On. His autobiographical Uncle Tungsten: Memories of a Chemical Boyhood was published in 2001, and his most recent books are Musicophilia: Tales of Music and the Brain (2007) and The Mind’s Eye (2010).
Sacks’s work, which has been supported by the Guggenheim Foundation and the Alfred P. Sloan Foundation, regularly appears in the New Yorker and the New York Review of Books, as well as various medical journals. The New York Times has referred to Dr. Sacks as “the poet laureate of medicine,” and in 2002 he was awarded the Lewis Thomas Prize by Rockefeller University, which recognizes the scientist as poet.
He is an honorary fellow of both the American Academy of Arts and Letters and the American Academy of Arts and Sciences, and holds honorary degrees from many universities, including Oxford, the Karolinska Institute, Georgetown, Bard, Gallaudet, Tufts, and the Catholic University of Peru.
Information borrowed in http://www.oliversacks.com/about-the-author/biography/
"Musicophillia" investigates the power of music to move us, to heal and to haunt us. It's a New York Times bestseller, and has been named one of the Best Books of 2007 by the Washington Post and the editors ofAmazon.com.
Oliver Sacks’s compassionate, compelling tales of people struggling to adapt to different neurological conditions have fundamentally changed the way we think of our own brains, and of the human experience.
In Musicophilia, he examines the powers of music through the individual experiences of patients, musicians, and everyday people–from a man who is struck by lightning and suddenly inspired to become a pianist at the age of forty-two, to an entire group of children with Williams syndrome who are hypermusical from birth; from people with “amusia,” to whom a symphony sounds like the clattering of pots and pans, to a man whose memory spans only seven seconds–for everything but music.
Our exquisite sensitivity to music can sometimes go wrong: Sacks explores how catchy tunes can subject us to hours of mental replay, and how a surprising number of people acquire nonstop musical hallucinations that assault them night and day. Yet far more frequently, music goes right: Sacks describes how music can animate people with Parkinson’s disease who cannot otherwise move, give words to stroke patients who cannot otherwise speak, and calm and organize people whose memories are ravaged by Alzheimer’s or amnesia.
Music is irresistible, haunting, and unforgettable, and in Musicophilia, Oliver Sacks tells us why.
Information borrowed in http://www.oliversacks.com/books/musicophilia/
Oliver Sacks' existence is undoubtedly a great privilege to mankind.
Images acessed in: