(WE LOST OLIVER SACHS THE OTHER DAY. HE WAS ONE OF THE SMARTEST AND SWEETEST CATS EVER, AND OPENED MY HEAD TO ALL SORTS OF POSSIBILITIES, AS WELL AS GIVING ME SOME INSIGHT ON WHAT GOES ON BETWEEN MY EARS. THIS POST ORIGINALLY WAS PUBLISHED IN OCTOBER 2007.)
Regular readers of this blog (the cats and that sweet woman from England who keeps seeing flying saucers when she sits in her loo) know that I adore music.
Music is pretty much a fulltime companion. It wakes me up in the morning and relaxes my mind in the evening. It helps me celebrate good times and weather bad times. It makes me move my body in fun and interesting ways when the DF&C and I are at a live concert or roll back the living room rug and boogie. And I can say without equivocation that it does strange and wonderous things to my mind.
Yet for all of the music that I have absorbed since I first heard "Pop Goes the Weasel" played on a jack in the box, I don't have a clue as to how and why it does those things to my mind.
Enter a really smart guy by the name of Oliver Sacks, a neurologist who has done some groundbreaking explorations on music and the mind, including how certain songs get stuck in one's mind (for me most recently Robert Hazzard's "Escalator of Life").
Sacks shares what he has learned in Musicophilia: Tales of Music and the Brain, a terrific new book that includes a case study about an orthopedic surgeon who discovered he had a newfound passion for concert piano after literally having his mind blown when he was struck by lightning.
Here are excerpts from a chapter on the incredible story of Tony Cicoria, who was at a lakeside pavilion for a family gathering on a fall afternoon as storm clouds gathered in the distance:
He went to a pay phone outside the pavilion to make a quick call to his mother (this was in 1994, before the age of cell phones). He still remembers every single second of what happened next: "I was talking to my mother on the phone. There was a little bit of rain, thunder in the distance. My mother hung up. The phone was a foot away from where I was standing when I got struck. I remember a flash of light coming out of the phone. It hit me in the face. Next thing I remember, I was flying backwards."
Then — he seemed to hesitate before telling me this — "I was flying forwards. Bewildered. I looked around. I saw my own body on the ground. I said to myself, 'Oh shit, I'm dead.' I saw people converging on the body. I saw a woman — she had been standing waiting to use the phone right behind me — position herself over my body, give it CPR. . . . I floated up the stairs — my consciousness came with me. I saw my kids, had the realization that they would be okay.
* * * * *
Dr. Cicoria knew he was back in his own body because he had pain — pain from the burns on his face and his left foot, where the electrical charge had entered and exited his body — and, he realized, "only bodies have pain." He wanted to go back, he wanted to tell the woman to stop giving him CPR, to let him go; but it was too late — he was firmly back among the living. After a minute or two, when he could speak, he said, "It's okay — I'm a doctor!" The woman (she turned out to be an intensive-care-unit nurse) replied, "A few minutes ago, you weren't."
* * * * *
A couple of weeks later, when his energy returned, Dr. Cicoria went back to work. There were still some lingering memory problems — he occasionally forgot the names of rare diseases or surgical procedures — but all his surgical skills were unimpaired. In another two weeks, his memory problems disappeared, and that, he thought, was the end of the matter.
What then happened still fills Cicoria with amazement, even now, a dozen years later. Life had returned to normal, seemingly, when "suddenly, over two or three days, there was this insatiable desire to listen to piano music." This was completely out of keeping with anything in his past. He had had a few piano lessons as a boy, he said, "but no real interest." He did not have a piano in his house. What music he did listen to tended to be rock music.
With this sudden onset of craving for piano music, he began to buy recordings and became especially enamored of a Vladimir Ashkenazy recording of Chopin favorites — the Military Polonaise, the Winter Wind Étude, the Black Key Étude, the A-flat Polonaise, the B-flat Minor Scherzo. "I loved them all," Tony said. "I had the desire to play them. I ordered all the sheet music. At this point, one of our babysitters asked if she could store her piano in our house — so now, just when I craved one, a piano arrived, a nice little upright. It suited me fine. I could hardly read the music, could barely play, but I started to teach myself." It had been more than thirty years since the few piano lessons of his boyhood, and his fingers seemed stiff and awkward.
And then, on the heels of this sudden desire for piano music, Cicoria started to hear music in his head. "The first time," he said, "it was in a dream. I was in a tux, onstage; I was playing something I had written. I woke up, startled, and the music was still in my head. I jumped out of bed, started trying to write down as much of it as I could remember. But I hardly knew how to notate what I heard." This was not too successful — he had never tried to write or notate music before. But whenever he sat down at the piano to work on the Chopin, his own music "would come and take me over. It had a very powerful presence."
I was not quite sure what to make of this peremptory music, which would intrude almost irresistibly and overwhelm him. Was he having musical hallucinations? No, Dr. Cicoria said, they were not hallucinations — "inspiration" was a more apt word. The music was there, deep inside him — or somewhere — and all he had to do was let it come to him. "It's like a frequency, a radio band. If I open myself up, it comes. I want to say, 'It comes from heaven,' as Mozart said."
* * * * *
In the third month after being struck by lightning, then, Cicoria — once an easygoing, genial family man, almost indifferent to music — was inspired, even possessed, by music, and scarcely had time for anything else. It began to dawn on him that perhaps he had been "saved" for a special reason. "I came to think," he said, "that the only reason I had been allowed to survive was the music." I asked him whether he had been a religious man before the lightning. He had been raised Catholic, he said, but had never been particularly observant; he had some "unorthodox" beliefs, too, such as in reincarnation.
He himself, he grew to think, had had a sort of reincarnation, had been transformed and given a special gift, a mission, to "tune in" to the music that he called, half metaphorically, "the music from heaven." This came, often, in "an absolute torrent" of notes with no breaks, no rests, between them, and he would have to give it shape and form. (As he said this, I thought of Caedmon, the seventh-century Anglo-Saxon poet, an illiterate goatherd who, it was said, had received the "art of song" in a dream one night, and spent the rest of his life praising God and creation in hymns and poems.)
* * * * *
Some years passed, and Cicoria's new life, his inspiration, never deserted him for a moment. He continued to work full-time as a surgeon, but his heart and mind now centered on music. He got divorced in 2004, and the same year had a fearful motorcycle accident. He had no memory of this, but his Harley was struck by another vehicle, and he was found in a ditch, unconscious and badly injured, with broken bones, a ruptured spleen, a perforated lung, cardiac contusions, and, despite his helmet, head injuries. In spite of all this, he made a complete recovery and was back at work in two months.
Neither the accident nor his head injury nor his divorce seemed to have made any difference to his passion for playing and composing music.IMAGE: "THE THREE MUSICIANS" By PABLO PICASSO (1921)