Despite loving singing, and having been good enough to perform and not have people run away, I know very little about music. Not that Levitin would be a snob about that, from the sound of this book, but it still forms a bit of a barrier to understanding when someone starts talking about semitones. I can sing C on demand, and I know when something is out of tune — what more do you want? (Although unlike most people, I have a bad sense of timing, apparently: I routinely sing slower than the original version of anything I’m performing. Most people apparently preserve the timing of the version they know best. Trivia!)
So anyway, the music side of this passed me by, mostly, despite the primer in the opening chapters. But the neuroscience behind music is fascinating, and Levitin explains it well. There are a few sections which drag as he spends too long explaining things, but on the other hand he references a wide selection of music, applying what he’s talking about to songs people often know. (Which again led me to wishing I knew more music, but this time popular music — I think I got one out of every five references? And my acquaintance with Bowie is pretty darn recent.)
I feel like the best people to appreciate this have a bit more music theory and a bit less neuroscience in their background, but nonetheless, I found it an intriguing read.