How Music Works: The Science and Psychology of Beautiful Sounds, from Beethoven to the Beatles and Beyond

I like this book very much and would like to see it incorporated into high school and college curricula. Realistically, however, no book will be enjoyed by everyone. Also, because the book will appeal to people with a wide range of musical and analytic interests and experience, I have separated my recommendations according to reader type.

Readers who like music but do not like science or analysis:

This isn't the book for you. There is very little in this book that will increase the pleasure of listening to music. The sole exception might be the suggestion to occasionally focus on a single instrument within a complex piece that involves many instruments. There is material in the book that will probably interest you, but finding it amongst the science and analysis will probably not be worth it to you.

Readers who don't have much music training but do have an interest in science, analysis, psychology, and history:

You are sure to enjoy this book. One warning, however - The full title may mislead some people into thinking that the book will explain why a sound is experienced as beautiful. The book does not provide such an explanation. Rather it describes the physical characteristics of sounds we usually experience as beautiful. The physical characteristics of sound must in some way be related to our cognitive and emotional experience, but science has yet to fully elucidate the precise cause and effect.

Readers who hate mathematics: only the mathematics found in elementary school is used in the book.

Experienced musicians who have at least a mild interest in science, analysis, psychology, and history:

You will enjoy the book and almost certainly discover new technical information, some of which is based on the author's own scientific research. Skim the explanations that you are familiar with. Teachers will enjoy the presentation of concepts because of their innovation and clarity and probably will be able to put these ideas to good use.

Readers who love music and are very comfortable with technical science and analysis.

You will probably love the book but hope for a sequel that is more technical.

Notes to readers who have finished the book:

The book will probably mislead people into thinking that Western scales and especially the usual pentatonic scale are inevitable. In fact, there is a great deal of variation as an analysis of non-Western music will demonstrate. Nevertheless, most of the content of the book is accurate and interesting.

I question the claim on page 231 that the reason singing in a shower sounds good is because of the hard reflective surfaces. I believe that the resonance of the space is a related factor that is at least as important.

Index error - The index erroneously lists the reference "Berlin, Irving, 172" when, in fact, the reference is on page 170.

I have a background in music (took classical piano lessons for 13 years, 9 years of organized school music programs), yet I found this book to be a little too technical. The premise was it is written for anyone with an interest in music, even a casual interest in current pop music, but no experience playing. This would definately be over their head.

This book is wonderful. It is enjoyable to read and you'll learn something whether you know nothing about music or have a degree in music. It reads fast, like a friend talking to you, and is full of Dave-Barry-style humor, from cover to cover. If you enjoy learning how things work, or why things are they way they are, or why certain music has certain effects on people, this book is for you.

I heard about this book when the author, John Powell, was intereviewed on NPR. I was hooked after that interview, and was not disappointed when the book arrived.

I keep buying these types of books for my husband, a scientist. He finally found a book that clearly , scientifically and efficiently
explains the age old question. great job.

Book review by Richard L. Weaver II

The idea that someone would have a background (Ph.D. no less!) in physics and, in addition, a master's degree in music composition sounds like an educational oxymoron. Then to bring these two areas of expertise together in a book that explains "how music works" is both unique and incredibly interesting. (And I thought my upbringing in science (an undergraduate minor) combined with a B.A. in speech communication was unusual!) Not only that, but Powell has taught both physics and musical acoustics. I mention this simply because these three areas (physics, music, and teaching) are beautifully juxtaposed in this excellent book.

Powell packs so much into this well-written, well-illustrated, well-explained, informative, and entertaining book that it is hard to know where to begin in reviewing it. Actually, if you have ever dabbled in music, if you play or have played an instrument, if you are a professional disc-jockey (as my older son is), or if you are simply a leisurely, laid-back listener of music, buy this book. I guarantee: 1) you will enjoy it, and 2) you will learn a great deal from it. You can then just skip my review of it because all I do is support these two justifications for purchasing it.

There is a question I have often answered for students at the university that becomes relevant once again with this book: "Doesn't having an education make you more critical of things?" Actually, the answer is, "No." Having an education increases your appreciation of things. It brings a deeper understanding, more background knowledge, a greater history, and, thus, a better grasp of everything in the world. It offers a context and frame of reference so that not only can you ask intelligent questions but you can give more informed, thorough, and substantiated answers as well. I have learned that the more education you have, the more you want to learn: It instills the teacher in you!

Powell was concerned about this as well when he says, "Some people worry that understanding more about music will reduce the pleasure they get from it, but the reverse is true. Learning how a complicated dish is prepared makes you appreciate it even more, and doesn't change how good it tastes" (p. 4).

This response provides insight into one of Powell's teaching abilities: throughout the book, he creates realistic, practical, hands-on analogies with which readers can closely relate, to make his points.

How pedestrian do his analogies get? After quoting Professor Frederick Corder, who wrote the book The Orchestra, and How to Write for It (1894), and Corder's disdain for the trumpet, the guitar, viola, and oboe, Powell writes, " . . . I dread to think what he would have said about the drinking straw oboe. All you need in order to own one of these magnificent instruments is a drinking straw and a pair of scissors. The illustration below shows you what to do" (p. 73). Powell adds to his delightful explanation of how to use it, "You can even cut little finger holes and play dreadful out-of-tune melodies. The long winter evenings will just fly by" (p. 73). (I love Powell's sarcasm.)

Among many other things, Powell explains what perfect pitch is, the difference between notes and noise, how loud is loud, the difference between harmony and cacophony, as well as how long it takes to become an expert, how musicians learn long and complicated pieces, how to select an instrument if you want to learn to play one, and the various elements involved in listening to music. There is just so much in this 265-page book. No, you don't have to read all the detailed sections; choose just those that have interest (knowing, however, that when you do, you will be missing out on some of the author's humorous asides, comments, and commentary).

This book is priceless -- a treasure. Thank you John Powell for this wonderful experience. As just a casual, laid back, appreciator of all kinds of music -- I do not play an instrument nor do I write music (although I have offspring who do) -- I have learned so much, and this book has contributed greatly to the musical portion of my education.

Because I've written a book which overlaps with some of the material in this book ("Construction of Musical Scales: A Mathematical Approach") I was very interested in reading this book. Amazingly, the author manages to meet his goal of covering the material without a lot of math, and yet does it in an understandable manner, and very readably. He combines degrees in both music composition and physics with a sense of humor that makes the book a joy to read. This book is highly recommended to anyone interested in any aspect of music theory, instrument design, or any related topic.

I have been obsessed with music for as long as I can remember. I've always wondered how music works and John's books really opened my eyes to the complexity of music. I learned so much and because of that, I have an even greater appreciation for the music making process. How Music Works would make the perfect holiday gift for the music lover in your life.

I recommend this to ALL my students. I have taught music privately for many years and THIS is one of the most important books that has come along. It is very easy to comprehend and really brings the whole subject into perspective and makes these, seemingly esoteric subjects VERY accessible. Great work! Thank you John Powell! This has been needed for a long, long time and you have really met the need! This is indispensable in any serious music book library.

I found this book to be very useful in explaining the physics involved in music and the development of modern western music (eg scales, notation, standards etc)

The standard of writing is good and the material is well organised with good examples and conceptual development

Definitely recommended for those who want to understand a little more deeply...

I'd been a music lover for decades, but never had any idea of what makes it "work".

That wasn't for lack of trying. For years I'd been pestering musician friends with questions like "What does 'key' mean?"; "What exactly is a 'scale'?". I believe they wanted to help me, but I always got answers that made no sense to me. Finally, I found Powell's book -- the lights came on!!!

I can now realize that the reason my musician friends weren't helpful to me is that I was asking questions from my HEAD, and they don't know this stuff in their heads -- they know it in the gut, and in their ears, and in their lips or hands or whatever they play their instruments with. But in my case, the way to my gut is through my head, and Powell, a physicist-musician, speaks from his head to my head. I finally know HOW MUSIC WORKS!!