This Is What it Sounded Like
This month I listened to the non-fiction book This Is What It Sounds Like by Dr. Susan Rogers and Ogi Ogas. The blurb pitches it as a neurological summary of how the brain interprets music and how individuals develop listener "profiles" across three conscious and four subconscious musical attributes.
I loved the concept of this book, because I enjoy both music of almost all varieties, as well as thinking about music. Ultimately the book was 30% neurology, 30% listening skills and 40% Susan Rogers biography. None of this was bad as it seems like Susan Rogers has lived an interesting life. Perhaps it's because I chose the audio book, some parts appealed to my book-listener profile and other parts felt unnecessary. I wish I had read this as a physical book where I could have seen the shape of the paragraphs before reading them, and been more easily able to pause and reflect/digest the fact I was just presented.
The seven facets of music I learned about were Authenticity, Realism, Novelty along with Melody, Rhythm, Lyrics and Timbre. Some of this was reminiscent of This Is Your Brain on Music which I enjoyed 13 years ago and which inspired several Rip It Up reviews (and which taught me the word "timbre") but which I've also forgotten a lot of. Perhaps that's part of why I'm recording the lessons here for future reference.
I most definitely would have got a dozen review structures out of this book a dozen years ago. I also confirmed my musical sweet spot is quite broad according to the quadrants prescribed by Dr Rogers. I enjoy personal ballads and swaggering hip hop. I dig an acoustic guitar and an 808. I'm drawn to new concepts and the classics. I'll groove to the downbeat, the backbeat or the high hat. Basically I'm like 19 year or Brad at the bar. If it comes in a bottle, I'm drinking it. There was a paragraph near the end talking about guilty pleasures and I was at a blank trying to identify my own. I don't feel any guilt about Creedence Clearwater Revival, JT featuring Timberland, Party Favor, Falling in Reverse, Taylor Swift, K-Pop hip hop, Diplo mash ups, or Kid Kenobi dropping Purple Funky Monkey. None of those will have the longevity of oral histories passed down for generations and stored across hemispheres, but they all work for me. Thanks to this book I can now also more accurately assess why they bring me pleasure.
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If you met yourself from the future, what would you ask your future self?
What if they wont tell you anything?