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Philip Ball is a freelance writer and a consultant editor for Nature, where he previously worked as an editor for physical sciences. He writes regularly in the scientific and popular media, and his many books on scientific subjects include The Self-Made Tapestry: Pattern Formation in Nature, H2O: A Biography of Water, The Devil's Doctor: Paracelsus and the World of Renaissance Magic and Science, and Critical Mass: How One Thing Leads To Another, which won the 2005 Aventis Prize for Science Books. His latest books are The Sun and Moon Corrupted, a novel, Universe of Stone: Chartres Cathedral and the Triumph of the Medieval Mind, and Nature's Patterns. Philip obtained a PhD in physics from the University of Bristol - where he also played a lot of music.
<br> Ball is to be applauded for the range and aptness of the musical examples he does choose - from Albinoni to Led Zeppelin, Bach to The Sound of Music - as well as for his attention to musics outside western traditions. ... the book is impressively engaging for one so dense with detail and argument....fascinating. --The Guardian<br> Using plentiful examples drawn from a refreshingly wide range of different kinds of music, from Bach to the Beatles, and from nursery rhymes to jazz. If you can read music, you will find yourself humming aloud to see what he means. If you can't....Mr Ball's facility for conveying complex facts in simple language comes to the rescue. <br> --The Economist<br> One the finest and most versatile of current nonfiction writers.... I defy anyone to read this book without coming away better informed about why music affects us in such a profound way...His passion for music is evident on every page, and his enthusiasms (whether for gamelan or Glenn Gould) are inf
